N 


CATALOGUE 

OF 

ENGRAVED  GEMS 


Digitized  by  the  Internet  Archive 
in  2019  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/catalogueofengraOOmetr_O 


THE  METROPOLITAN  MUSEUM 
OF  ART 

CATALOGUE  OF 

ENGRAVED  GEMS 

OF  THE 

CLASSICAL  STYLE 

BY 

GISELA  M.  A.  RICHTER,  Litt.  D. 

ASSISTANT  CURATOR 
DEPARTMENT  OF  CLASSICAL  ART 


NEW  YORK 
M  C  M  X  X 


COPYRIGHT,  1920 
BY 

THE  METROPOLITAN  MUSEUM 
OF  ART 


EARCH 

rary 


PREFACE 


The  collection  of  classical  gems  in  the  Metropolitan 
Museum  of  Art1  is  of  a  very  representative  character, 
most  of  the  important  periods  and  styles  being  shown  by 
several  examples.  It  includes  a  number  of  specimens  of 
first-rate  importance,  while  the  majority  of  the  pieces  are 
of  good  quality.  The  collection  consists  at  present  of  464 
pieces,  and  is  made  up  largely  from  material  derived  from 
the  Cesnola,  King,  and  Greau  Collections,  as  well  as  from 
single  purchases  made  since  the  year  1906.  In  this  cata¬ 
logue  only  the  gems  of  classical  style  (both  intaglios  and 
cameos)  are  included.  The  Oriental,  Sassanian,  and 
Gnostic  gems,  belonging  chiefly  to  the  Cesnola  and  King 
Collections,  have  an  interest  distinct  from  that  of  classical 
work  and  therefore  appeal  to  a  different  public  and  demand 
treatment  by  a  different  expert.  On  the  other  hand, 
the  eighteenth-  and  nineteenth-century  gems  of  pseudo- 
classical  style  have  been  placed  with  the  classical  material, 
since  their  chief  importance  lies  in  their  approximation 


1The  collection  is  exhibited  in  the  Classical  J,  Wing,  in  the  successive 
period  rooms,  except  a  few  gold  rings  which,  for  reasons  of  safety,  are 
shown  in  the  Gold  Room  (Gallery  11:  C  32).  Impressions  from  the  en¬ 
gravings  of  these  rings  are,  however,  shown  in  the  galleries  with  the  other 
gems. 


v 


VI 


PREFACE 


to  the  classical  styles  (cf.  pp.xlvi  f.,  189),  and  much  can 
be  learned  by  a  comparison  between  the  ancient  and  the 
modern  specimens. 

The  gems  belonging  to  the  Cesnola  Collection  were 
acquired  in  the  years  1872  and  1876  from  General  Luigi 
Palma  di  Cesnola,  together  with  the  rest  of  the  Cypriote 
antiquities.  Many  of  our  best  Greek  gems  and  rings  are 
part  of  this  collection;  for  instance,  the  beautiful  carnelian 
with  Eros  carrying  off  a  girl  (No.  31),  one  of  the  finest  gems 
in  existence;  also  the  stones  with  Hades  and  Persephone 
(No.  32),  the  man  between  two  prancing  horses  (No.  24), 
the  winged  female  figure  (No.  29),  and  the  horse  preparing 
to  lie  down  (No.  41). 

The  King  Collection  was  formed  by  the  Rev.  C.  W. 
King  of  Trinity  College,  Cambridge,  England,  between 
the  years  1845  and  1877.  It  was  subsequently  sold  by 
him  to  John  Taylor  Johnston,  who  generously  presented 
it  to  our  Museum  in  1881.  The  majority  of  these  gems 
date  from  the  later  periods,  though  several  fine  early  ex¬ 
amples  are  included,  such  as  the  eight-sided  cone  with 
Hermes  (No.  18),  the  agate  with  the  galloping  Centaur 
(No.  23),  and  the  carnelian  with  the  child  caressing  a 
hound  (No.  38).  Among  the  Hellenistic  and  Graeco- 
Roman  gems  the  most  important  are,  perhaps,  the  bust 
of  Serapis  (No.  77),  the  portrait  of  Junius  Brutus  (No. 
215),  the  pantheistic  head  (No.  127),  Apollo  leaning  on  a 
pillar  (No.  138),  the  head  of  Asklepios  (No.  179),  and  the 
charming  Satyr  bust  (No.  171).  An  attractive  series  is 
that  showing  Erotes  in  various  attitudes  and  motives 
(Nos.  146  ff.).  Most  of  our  late  Roman  and  pseudo- 
classical  stones  belong  to  this  collection. 

The  famous  Greau  Collection  of  glass,  formed  by  M. 
Julien  Greau,  came  to  this  Museum  first  as  a  loan  from  J. 
Pierpont  Morgan  in  1910,  and  then  as  a  gift  by  his  son  in 


PREFACE 


Vli 

1917,  as  part  of  the  J.  Pierpont  Morgan  Collection.  In  it 
were  included  fifty-eight  gems,  consisting  entirely  of  glass 
pastes,  chiefly  of  the  Hellenistic,  Italic,  and  Graeco- Ro¬ 
man  periods.  They  effectively  filled  certain  gaps  in  our 
collection. 

The  purchases  made  since  1906  are  selected  pieces 
mostly  of  considerable  importance.  By  far  the  finest  is 
the  Greek  ring,  No.  36,  with  the  representation  of  a 
dancing  girl — a  masterpiece  of  the  engraver’s  art.  The 
Etruscan  scarab  with  Herakles  and  the  Nemean  lion 
(No.  56),  the  Hellenistic  cameos  of  Medusa  (No.  82)  and 
of  the  Triton  and  Nereid  (No.  83),  and  several  Roman 
portraits  (Nos.  217,  220),  notably  one  signed  by  Gnaios 
(No.  222),  are  all  first-rate  pieces.  In  addition  to  the 
above  a  few  miscellaneous  pieces  were  acquired  by  pur¬ 
chase  in  1895  and  1898. 

An  important  loan  by  the  American  Numismatic  So¬ 
ciety  in  1919  is  the  Graeco-Persian  agate,  No.  55. 

The  Cesnola  gems  are  mostly  figured  in  the  Atlas  of 
the  Cesnola  Collection  (1903),  and  in  L.  P.  di  Cesnola’s 
book  on  Cyprus  (1877).  They  have  been  classified  and 
briefly  described  by  J.  L.  Myres  in  his  Handbook  of  the 
Cesnola  Collection  (1914).  A  descriptive  catalogue  of  the 
King  Collection,  written  by  the  Rev.  C.  W.  King  himself 
in  1878,  was  printed  by  the  Museum  in  pamphlet  form 
after  the  collection  was  acquired,  in  1882.  When  the  edi¬ 
tion  was  exhausted  no  new  one  was  issued,  as  the  text  had 
become  archaeologically  out  of  date.  Many  of  the  gems 
are  illustrated  in  Mr.  King’s  other  works,  such  as  Antique 
Gems  (1866);  Antique  Gems  and  Rings  (1872);  Handbook 
of  Engraved  Gems  (1885);  Precious  Stones,  Gems  and 
Precious  Metals  (1865).  The  Greau  gems  were  published 
in  the  Catalogue  of  the  Greau  Collection  of  Glass  by  W. 
Froehner,  in  1903.  Since  1906  the  new  accessions  have 


Vlll 


PREFACE 


been  described  in  Museum  Bulletins.  Other  publications 
of  individual  gems  now  in  our  collection  have  been  men¬ 
tioned  in  the  descriptions  of  these  respective  pieces. 

It  is  hoped  that  this  catalogue  will  serve  a  two-fold 
purpose— to  make  our  collection  of  gems  better  known 
and  to  serve  as  a  general  handbook  to  collectors  of  gems. 
As  no  reliable,  up-to-date  book  on  ancient  gems  exists  in 
the  English  language,  it  seemed  advisable  to  try  to  fill  that 
need.  The  plan  adopted  has  been  to  divide  our  material 
chronologically  into  the  chief  periods  of  ancient  art,  and 
within  these  chronological  divisions  to  arrange  the  gems 
according  to  subjects.  The  Table  of  Contents  gives  a 
skeleton  of  the  scheme.  Each  section  is  preceded  by  a 
short  historical  note,  showing  the  influence  of  contempor¬ 
ary  events  on  the  art  of  gem  engraving.  The  general 
Introduction  deals  with  the  different  aspects  presented  by 
ancient  gems  as  a  whole,  their  various  uses,  the  choice  of 
designs,  the  value  placed  on  gems  at  different  times,  the 
important  problem  of  forgeries,  the  technique  of  gem  en¬ 
graving,  and  the  chief  materials  used.  It  also  includes 
lists  of  known  gem  engravers  of  the  periods  discussed. 

Practically  every  gem  in  the  collection — except  where 
there  is  a  duplication  of  types — is  illustrated  in  the  plates 
(in  the  exact  size  of  the  original),  the  examples  of  each 
period  being  grouped  together.  The  more  important 
gems  are  repeated  in  enlarged  form,  each  occupying  a 
plate  by  itself.1  This  special  prominence  enables  the 
reader  to  see  at  a  glance  the  chief  works  in  our  collec¬ 
tion,  and  also  often  to  appreciate  better  the  beauty  of 
these  gems  than  is  possible  in  the  minute  space  of  the 
originals.  It  should  be  remarked,  however,  that  only  the 

1They  are  Nos.  3,  18,  23,  24,  29,  31,  32,  33,  36,  37,  38,  41,  42,  47,  56, 
77,  82,  83,  1 18,  127,  130,  138,  146,  165,  170,  1 7 1 ,  175,  179,  189,  212,  215, 
217,  218,  220,  222,  223,  225,  239,  232,  272. 


PREFACE 


ix 


most  finished  works  can  be  thus  magnified  to  advantage; 
for  a  slight  defect,  hardly  noticeable  in  the  original,  is 
naturally  greatly  exaggerated  when  enlarged.  A  few  of 
the  gems  which,  though  not  of  unusual  workmanship 
are  specially  attractive  in  design  or  subject  are  repeated 
in  the  text,  in  drawings  made  from  enlargements.1  The 
chief  types  of  ring  forms  represented  in  the  collection  are 
likewise  shown  in  drawings  in  the  text.  The  vignette  on 
the  title  page  is  a  drawing  of  No.  37  (slightly  enlarged).2 

The  photographs  for  the  illustrations  are  made  through¬ 
out  from  the  impressions  of  the  intaglios,  not  the  originals. 
Photographs  from  plaster  impressions  are  much  more  suc¬ 
cessful  than  those  from  the  stones,  as  the  former  do  not 
suffer  from  the  difficulties  of  high  lights  and  reflections 
inevitable  in  reproductions  from  the  stones  direct.  More¬ 
over,  the  design  of  the  intaglio  was  made  to  be  seen  in  the 
impression,3  so  that  properly  to  appreciate  the  intention 
of  the  artist  it  is  the  impression  which  should  be  studied. 
For  this  reason  the  descriptions  of  the  designs  are  also 
made  from  the  impressions. 

In  the  preparation  of  this  catalogue  I  have  had  the  great 
advantage  of  constant  advice  and  criticism  given  me  by 
the  director,  Mr.  Edward  Robinson,  who  has  gone  through 
the  whole  catalogue  in  manuscript  form.  Valuable  as¬ 
sistance  in  different  ways  has  also  been  given  me  by  other 

^hey  are  Nos.  1 1,  14,  51,  100,  106,  133,  149,  15 1,  132,  173,  174,  21 1,  250, 
273,  276,  278,  285. 

2 All  these  drawings  are  by  Mr.  Edward  B.  Edwards. 

3When  it  is  a  question  of  the  right  or  left  hand  it  is  the  impression  which 
shows  the  design  correctly;  cf.  e.  g.  in  our  collection  No.  23,  the  Centaur 
shooting  an  arrow;  Nos.  49  and  70,  Apollo  playing  the  lyre;  No.  85, 
Othryades  writing  on  the  shield;  No.  88,  a  man  hammering;  No.  91,  a  man 
writing;  No.  1 18,  a  sculptor  working;  No.  189,  Nike  sacrificing;  No.  206, 
a  Siren  playing  the  lyre;  No.  210,  a  giant  brandishing  a  sword;  No.  238, 
a  girl  tuning  her  lyre;  No.  351,  Helios  driving,  etc.,  etc. 


X 


PREFACE 


members  of  the  Museum  Staff,  especially  by  Mrs.  Edward 
S.  Clark  and  Miss  Helen  McClees,  assistants  in  the  Classi¬ 
cal  Department. 

In  addition  to  help  received  inside  the  Museum,  it  is  a 
pleasure  to  acknowledge  my  obligations  to  many  friends 
and  colleagues,  in  particular  to  Mr.  John  Marshall,  Pro¬ 
fessor  John  L.  Myres,  Sir  Arthur  Evans,  Mr.  A.  H.  Smith, 
Mr.  E  J.  Forsdyke,  Mr.  J.  D.  Beazley,  M.  Theodore 
Reinach,  Mr.  Edward  T.  Newell,  Mr.  Arthur  Fairbanks, 
and  Mr.  L.  D.  Caskey — all  of  whom  have  helped  me  at 
various  times  with  information,  suggestions,  and  oppor¬ 
tunities  of  study. 

My  thanks  are  due  also  to  Mr.  O.  Negri  for  his  courte¬ 
ous  assistance  in  letting  me  study  the  technique  of  modern 
gem  engraving  in  his  studio  and  for  much  valuable  infor¬ 
mation  on  this  subject;  and  to  Mr.  H.  P.  Whitlock,  cura¬ 
tor  of  mineralogy  in  the  American  Museum  of  Natural 
History,  for  revising  the  chapter  on  gem  materials  and  for 
identifying  a  number  of  doubtful  stones. 

My  greatest  debt,  however,  is  to  Furtwangler’s  monu¬ 
mental  work,  Die  antiken  Gemmen — greater  even  than 
the  constant  references  to  this  book  imply.  It  was  one 
of  Furtwangler’s  important  achievements  in  the  field  of 
archaeology  to  revolutionize  the  study  of  ancient  gems 
and  to  put  it  for  the  first  time  on  a  sound  scientific  footing. 
It  has  been  my  endeavor  in  this  catalogue  to  follow  the 
path  that  he  has  pointed  out. 


Gisela  M.  A.  Richter. 


TABLE  OF  CONTENTS 

PAGE 

Preface  .  v 

Introduction . xv 

Gems  as  Works  of  Art . xv 

Gems  as  Seals . xix 

Choice  of  Designs  on  Gems . xxi 

Gems  as  Ornaments . xxiv 

Gems  as  Amulets . xxviii 

Appreciation  of  Gems . xxix 

Gem  Engravers . xxxv 

Forgeries . xlvi 

The  Technique  of  Gem  Engraving  ....  xlvii 

Materials  Used  for  Ancient  Gems  ....  liv 

Bibliography . Ixiii 

Collections  of  Gems . lxx 

Abbreviations . Ixxiii 

Catalogue  of  Gems .  3 

Minoan  Period,  Nos.  1-9 .  5 

Geometric  Period . 1 1 

Period  of  Oriental  Influences,  Seventh  Century 

B.  C.,  Nos.  10-12 . 13 

Archaic  Greek  Period,  Nos.  13-34  ....  16 

Etruscan  Gems,  about  520-450  B.  C.,  No.  35  .  31 

Graeco-Phoenician  Gems . 34 

Developed  Greek  Styles,  Fifth  and  Fourth  Cen¬ 
turies  B.  C.,  Nos.  36-54 . 36 

xi 


Xll 


TABLE  OF  CONTENTS 


PAGE 

Graeco- Persian  Gems,  No.  55 . 49 

Etruscan  Gems,  about  450-300  B.  C.,  Nos.  56-69  52 

Hellenistic  Period,  Third  and  Second  Centuries 

B.  C.,  Nos.  70-83 . 59 

Italic  Gems,  Third  to  First  Century  B.  C.  .  .  68 

Etruscanizing  Group,  Nos.  84-93  ....  68 

Hellenizing  Group,  Nos.  94-1 1 5  ....  74 

First  Century  B.  C.,  Nos.  1 16-123  ...  83 

Graeco-Roman  Period  (Augustan  and  Early  Im¬ 
perial)  . 87 

I.  Intaglios 

a.  Deities,  etc.,  Nos.  124- 194  ...  93 

b.  Heroes,  Nos.  195-201  .  .  .  .  1 19 

c.  Mythological  Animals  and  Mon¬ 
sters,  Nos.  202-212 . 122 

d.  Portraits,  Nos.  213-229  .  .  .  .  127 

e.  Scenes  from  Daily  Life,  Nos.  230- 

242 . 133 

f.  Animals,  Nos.  243-264  .  .  .  .  137 

g.  Grylloi,  Nos.  265-278  ....  ia.2 

h.  Objects,  Symbols,  and  Inscriptions, 

Nos.  279-311 . 147 

II.  Cameos  and  Work  in  the  Round 

a.  Deities,  Nos.  312-325  .  .  .  .  154 

b.  Heroes,  Nos.  326-327  ....  160 

c.  Monsters,  No.  328 . 161 

d.  Portraits,  Nos.  329-336  .  .  .  .  161 

e.  Scenes  from  Daily  Life,  Nos.  337-340  164 

f.  Animals,  Nos.  341-342  ....  165 

g.  Statuette  of  Nike,  No.  343.  .  .  166 

Later  Imperial  Period,  Second  to  Fifth  Century 

A.  D . 167 

I.  Intaglios 

a.  Deities,  etc.,  Nos.  344-385  .  .  .  169 


TABLE  OF  CONTENTS 


Xlll 


PAGE 

Intaglios — Continued 

b.  Heroes,  No.  386 . 183 

c.  Mythological  Animals,  No.  387  .  183 

d.  Portraits,  Nos.  388-395  ....  184 

e.  Scenes  from  Daily  Life,  Nos.  396- 

398 . 186 

f.  Animals,  No.  399 . 187 

g.  Grylloi,  Nos.  400-401  .  .  .  .  187 

II.  Cameos  and  Work  in  the  Round,  Nos. 

402-403 . 188 

Post-Classical  Periods,  Eighteenth  and  Nine¬ 
teenth  Centuries . 189 

I.  Intaglios 

a.  Deities,  etc.,  Nos.  404-412  .  190 

b.  Heroes,  Nos.  413-422  ....  195 

c.  Monsters  and  Mythological  Ani¬ 
mals,  Nos.  423-430 . 199 

d.  Portraits,  etc.,  Nos.  43 1-450  .  201 

e.  Scenes  from  Daily  Life, Nos. 45 1-455  206 

f.  Animals,  Nos.  456-457  ....  208 

g.  Gryllos,  No.  458 . 209 

II.  Cameos  and  Work  in  the  Round,  Nos. 

459-464  .  209 

Index . 213 


INTRODUCTION 

Gems  as  Works  of  Art 

A  COLLECTION  of  ancient  gems  satisfies  our  aesthetic 
sense  in  many  ways.  The  inherent  beauty  of  the  material, 
with  its  rich  and  varied  colors,  its  lustre  and  brilliance, 
gives  us  pleasure  at  first  sight.  The  hard  and  durable 
quality  of  the  stones  has  made  for  unusually  good  preser¬ 
vation,  so  that  we  can  appreciate  in  many  cases  the  artist’s 
work  in  its  original  state — a  rare  opportunity  in  classical 
art.  Moreover,  the  smallness  and  preciousness  of  the  gems 
invited  exquisite  workmanship,  and  in  certain  periods 
when  the  art  was  at  a  high  level  the  achievements  in  this 
field  were  very  notable.  The  best  ancient  gem  engravers 
combined  extreme  minuteness  and  accuracy  of  detail 
with  a  largeness  and  simplicity  of  style  that  are  indeed 
remarkable.  A  gem  engraving  of  this  class  possesses  the 
nobility  and  dignity  of  a  marble  or  bronze  sculptural 
work,  though  it  is  often  confined  to  the  space  of  less  than 
half  an  inch  square. 

This  quality  of  combining  minute  size  and  exquisite 
finish  with  grandeur  of  effect  lifts  these  gems  out  of  the 
class  of  decorative  objects  and  puts  them  on  a  par  with  the 
products  of  the  higher  arts.  And  yet,  though  the  best 
ancient  engravers  could  give  this  sculptural  quality  to  their 


XV 


XVI 


INTRODUCTION 


work,  they  kept  strictly  to  the  technique  of  their  own  trade. 
They  showed  great  skill  in  the  treatment  of  the  intaglio 
relief,  observing — at  least  in  the  best  periods — a  certain 
uniformity  of  surface  and  avoiding  excessive  projections. 
The  compositions  are  cleverly  designed  for  the  field  they 
occupy,  falling  easily  within  the  prescribed  limits  without 
any  feeling  of  restraint  or  confinement.  And  this  applies 
not  only  to  single  figures  in  all  manner  of  poses  but  to 
the  not  infrequent  groups;  for  even  where  several  figures 
are  introduced  or  various  objects  related  to  the  scene  are 
added,  there  is  rarely  a  sense  of  crowding — so  perfectly  is 
the  design  suited  to  the  space. 

The  study  of  the  best  work  produced  by  the  ancient  gem 
engravers  is  therefore  an  excellent  training  and  refining 
of  our  sensibilities,  making  us  appreciate  to  an  unusual 
degree  high  conception  and  good  workmanship  and  thus 
stimulating  our  own  artistic  faculties. 

Naturally,  as  is  the  case  in  every  branch  of  artistic  pro¬ 
duction,  masterpieces  are  comparatively  few,  and  even  in 
the  periods  when  the  best  gems  were  produced  we  have 
ordinary  work  side  by  side  with  the  fine.  But  this,  too, 
is  an  opportunity  for  artistic  education — because  to  learn 
to  distinguish  from  a  mass  of  material  the  good,  the  aver¬ 
age,  and  the  poor,  is  the  best  schooling  for  eye  and  judg¬ 
ment. 

Moreover,  besides  training  us  to  discern  quality,  a  col¬ 
lection  of  ancient  gems  can  also  teach  us  to  differentiate 
the  manifold  styles  in  ancient  art — the  archaic  from  the 
fully  developed,  the  Etruscan  and  Roman  from  the  pure 
Greek,  the  Italic  from  the  classicist  Roman,  and  the  later 
Roman  from  the  Augustan;  for  the  study  of  Greek  and 
Roman  gems  is  the  study  of  classical  art  in  miniature. 
Beginning  with  the  Minoan  period,  and  continuing 
throughout  Hellenic,  Hellenistic,  and  Roman  times,  down 


INTRODUCTION 


XVII 


to  the  collapse  of  the  Roman  Empire,  engraved  gems  were 
in  common  use;  and  during  this  long  epoch  the  gems  reflect 
faithfully  the  styles  of  the  various  periods  to  which  they 
belong,  so  that  they  represent  an  accurate  picture  of  the 
development,  the  prime,  and  the  decadence  of  classical  art. 
Moreover,  in  recent  times,  especially  during  the  eighteenth 
and  early  nineteenth  centuries,  Greek  and  Roman  gems 
were  extensively  imitated  by  eminent  artists  who  closely 
approximated  the  ancient  style.  And  we  have  here  an  ex¬ 
cellent  opportunity  of  learning  to  distinguish  the  pseudo- 
classical,  even  at  its  best,  from  genuine  antique  work. 

Not  only  do  classical  gems  follow  closely  the  prevalent 
styles  of  their  periods,  but  the  choice  of  subjects  repre¬ 
sented  on  them  is  equally  inclusive.  These  subjects  com- 
,  prise,  in  fact,  the  mythology  and  the  daily  life  of  the 
Greeks,  the  two  great  themes  of  classical  art.  Thus, 
in  a  representative  collection  of  gems  we  can  pass  in  re¬ 
view  almost  every  Greek  god,  goddess,  and  hero,  as  well 
as  many  subjects  of  everyday  life,  especially  portraits  and 
animals.  And,  since  this  is  the  case  for  so  extended  a 
period,  we  have  here  an  exceptionally  comprehensive  pic¬ 
ture  of  the  development  of  classical  types.  We  shall  find 
that,  varied  as  the  subjects  on  the  gems  are,  they  teach  us 
again  the  lesson  we  learn  in  our  contact  with  all  Greek  and 
Roman  art — that  the  classical  mind  preferred  to  adopt 
certain  types  and  repeat  these,  of  course  with  infinite 
variations,  rather  than  try  to  produce  continually  fresh 
models  and  themes.  This  adherence  to  certain  standard¬ 
ized  types  makes  the  ancient  work,  even  when  carelessly 
executed,  usually  fine  in  composition  and  space  filling, 
and,  viewed  as  a  whole,  it  impresses  us  with  that  sense  of 
vitality  controlled  by  order  and  purpose  which  is  so 
prominent  a  characteristic  of  classical  art. 

In  order  to  understand  fully  the  representations  on 


XV111 


INTRODUCTION 


gems,  we  must  bear  in  mind  another  important  charac¬ 
teristic  of  classical  art — its  symbolism.  By  this  we  do  not 
mean  an  abstruse  symbolism  to  express  abstract  ideas, 
by  which  some  moderns  still  delight  to  interpret  Greek 
art — for  that  is  essentially  un-Hellenic;  but  a  perfectly 
obvious  symbolism,  by  which  a  flower  stands  for  a  flowery 
meadow,  waves  for  the  sea,  a  chair  for  an  indoor  scene,  a 
column  for  a  house;  in  other  words,  by  which  a  small 
concrete  part  stands  for  the  concrete  whole.  We  are 
familiar  with  such  a  shorthand  method  of  expression  even 
in  Greek  vase  paintings;  its  advantage  in  the  restricted 
space  of  a  gem  is  apparent. 

In  the  case  of  coins,  where  such  symbolism  is  extensively 
used  (cf.  P.  Gardner,  The  Types  of  Greek  Coins,  pp.  69- 
70),  the  interpretation  is  comparatively  easy;  for  we  can 
associate  the  coin  with  a  certain  city  whose  history  is 
more  or  less  known.  To  quote  Professor  Gardner  (loc. 
cit.) : 

“  If  on  the  coin  of  Selinus,  which  bears  as  type  the  sacri¬ 
fice  to  Apollo,  in  gratitude  for  the  removal  of  a  pestilence, 
we  have  in  the  background  a  crane  walking  away,  this 
signifies  the  drying  up  of  the  marshes  in  which  he  may  be 
supposed  to  have  rejoiced.  When  we  find  on  Arcadian 
coins  a  figure  of  Pan  seated  on  rocks,  we  readily  interpret 
the  group  as  meaning  that  the  temple  of  the  Arcadian 
Pan  was  situated  on  the  lofty  rocks  of  Mount  Lycaeus. 
If  on  the  money  of  Corinth  we  find  Aphrodite  and  the 
temple  which  contains  her  image  placed  on  a  basis,  we 
do  not  hesitate  to  see  in  the  basis  the  lofty  rock  of  Acro- 
corinthus,  on  the  summit  of  which  her  temple  in  fact 
rested.” 

In  the  gem  representations,  however,  we  have  no  such 
historical  data  on  which  to  build  our  theories,  because  the 


INTRODUCTION 


XIX 


gems  were  made  for  individuals  whose  biographies  are 
seldom  at  hand.  Frequently  the  significance  of  a  scene 
must  therefore  be  lost  to  us  and  the  little  devices  often 
added  in  the  field  of  a  gem  (such  as  animals,  stars,  branches, 
crescents)  have  become  generally  meaningless  now,  since 
we  have  lost  the  background  which  gave  them  a  meaning. 

Gems  as  Seals 

Besides  their  artistic  and  historical  value,  classical 
gems  make  a  strong  appeal  to  us  through  their  intimate 
relation  to  the  personal  lives  of  the  Greeks  and  Romans. 
Their  primary  object  was  to  serve  as  seals,  and  seals  in 
the  ancient  world  played  a  very  important  role.  They 
took  the  place  of  Yale  keys  and  combination  locks;  for 
the  Greek  and  Roman  householder  would  guard  against 
the  infidelity  of  his  slaves  by  placing  his  seal  on  the  doors 
of  chambers  and  closets  in  which  he  kept  his  jewelry,  his 
secret  papers,  his  supplies,  and  other  precious  belongings. 
Many  ancient  sealings  of  all  periods  have  been  found, 
chiefly  of  clay,  and  the  ancient  writers  often  refer  to  this 
practice.  In  the  Thesmophoriazusae  of  Aristophanes 
(418  ff.),  for  instance,  the  women  complain  that  the  stores 
of  meal,  oil,  and  wine  are  guarded  too  well  by  their  hus¬ 
bands’  seals;  and  Isokrates  (Orations,  XVII,  33,  34)  is 
shocked  by  the  action  of  Pythodoros,  who  opened  the  voting 
urns,  “  sealed  by  the  Prytanes  and  countersealed  by  each  of 
the  Choregoi.”  Again,  Horace  (Epistles,  II,  ii,  132  ff.) 
describes  an  amiable  neighbor  who  is  kind  to  his  slaves  and 
“does  not  go  mad  when  the  seal  of  his  wine  jar  is  broken.” 

Furthermore,  the  seal  in  the  ancient  world  corresponded 
to  a  written  signature  today.  At  a  time  when  the  large 
majority  of  people  were  unable  to  write  and  had  to  depend 
on  the  services  of  the  professional  scribe,  the  impression 
of  a  personal  seal  was  the  only  reliable  identification  mark. 


XX 


INTRODUCTION 


And  in  the  days  before  the  handling  of  mail  by  a  govern¬ 
ment  postal  service,  such  identification  marks  were  doubly 
necessary,  for  all  correspondence  had  to  be  entrusted  to 
private  carriers  who  might  or  might  not  be  trustworthy. 
When  Agamemnon  sends  a  slave  with  a  letter  to  his  wife 
Clytemnestra  and  the  slave  asks  him,  “Yet  how  shall  thy 
wife  and  thy  daughter  know  my  faith  herein,  that  the  thing 
is  so?”  Agamemnon  promptly  answers,  “  Keep  thou  this 
seal,  whose  impress  lies  on  the  letter  thou  bearest”  (Euri¬ 
pides,  Iphigeneia  in  Aulis,  156,  A.  S.  Way’s  translation). 

Again  Theseus,  on  discovering  the  tablet  fastened  to 
his  dead  wife’s  hand,  knows  it  is  truly  hers  by  “the  im¬ 
press  of  the  carven  gold,”  and  then  proceeds  to  “unveil 
the  seal’s  envelopings”  (Euripides,  Hippolytus,  862). 
In  the  trial  of  Lentulus  Sura  and  his  accomplices  for  guilt 
in  the  conspiracy  of  Catiline  they  are  immediately  con¬ 
fronted  with  their  “letters  and  seals”  as  unmistakable 
evidence  (Cicero,  Orations  against  Catiline,  3,  III,  6, 
and  V,  10) ;  while  Seneca  bewails  the  wickedness  of  the  hu¬ 
man  race  which  makes  us  put  more  faith  in  signets  than  in 
men  (De  beneficiis,  III,  15).1 

The  seal  was  also  used  to  attest  a  spoken  message. 
When  Deianeira  sends  Lichas  to  Herakles  with  the  fatal 
robe,  she  gives  him  the  impress  of  her  signet-ring,  as  a  token 
“that  he  will  surely  recognize”  (Sophokles,  Trachiniai. 
614).  And  Orestes,  in  order  to  convince  the  doubting 
Elektra  of  his  identity,  shows  her  their  father’s  signet-ring 
(Sophokles,  Elektra,  1222). 

Against  the  danger  of  fraud  strict  precautions  had,  of 
course,  to  be  taken.  We  are  told  that  Solon,  as  early  as 
the  sixth  century,  made  a  law  forbidding  gem  engravers  to 
keep  copies  of  the  seals  they  engraved  (Diogenes  Laertius, 

1  Compare  also  Ovid,  Tristia,  V,  4;  Plautus,  Bacchides,  IV,  vi,  787  ff.; 
etc. 


INTRODUCTION 


XXI 


I,  ii,  ix).  A  safe  measure  was  to  mention  the  device  on  the 
signet  in  a  separate  letter.  Pliny  the  Younger,  writing 
from  Nicomedeia  to  the  Emperor  Trajan,  says  that  he  is 
sending  with  the  letter  a  nugget  of  ore  from  a  mine  in 
Parthia,  and  that  the  packet  is  “sealed  with  his  own  ring, 
the  device  on  which  is  a  quadriga”  (Pliny,  Letters,  X, 
74  [  1 6]) .  And  Areus,  king  of  Lacedaemon,  in  a  letter  to 
the  Jewish  priest  Osias,  writes:  “  Demotolos  will  give  you  a 
letter  written  on  a  square  sheet  and  sealed  with  a  seal  on 
which  the  signet  is  an  eagle  holding  a  serpent  (Flavius 
Josephus,  Antiquitates  Judaicae,  XII,  iv  [v]).  Or,  better 
still,  the  device  to  be  used  in  the  sealing  was  decided  be¬ 
forehand,  as  in  the  letter  of  Plautus’  soldier  to  the  slave 
dealer,  which  was  sealed  “with  the  device  on  which  we  two 
once  agreed”  (Plautus,  Pseudolus,  IV,  ii,  4oflf.). 

The  danger  of  having  one’s  seal  fall  into  the  wrong 
hands  was  naturally  great,  and  could  entail  serious  conse¬ 
quences.  The  story  of  Hannibal’s  appropriating  the  seal 
of  the  Roman  general  Marcellus  and  almost  capturing  a 
town  in  consequence  is  well  known  (cf.  Livy,  XXVII,  28). 
To  forestall  such  deceptions  it  was  best  to  have  one’s  seal 
in  safe-keeping  before  death,  and  either  to  destroy  it, 
or  to  give  it  to  a  trusted  friend,  as  Alexander  did  to  Per- 
diccas  (Quintus  Curtius,  X,  v,  12,  and  Aemilius  Probus, 
In  Eumenen,  II,  1),  and  Augustus  to  Agrippa  (Dio  Cas¬ 
sius,  LI  1 1,  30).  If  one  had  no  such  trusted  friend,  one’s 
position  was  difficult.  Suetonius  tells  that  Tiberius  on 
his  deathbed  pulled  off  his  ring  to  give  it  to  a  bystander 
and  after  some  hesitation  replaced  it  on  his  finger  (Sue¬ 
tonius,  Tiberius,  LXXIII,  2). 

Choice  of  Designs  on  Gems 

In  the  choice  of  designs  for  seals  we  have  seen  that  the 
ancients  drew  from  the  prevalent  artistic  stock.  It  would 


XXII 


INTRODUCTION 


have  been  an  alien  thought  to  a  Greek  or  Roman  to  use 
for  his  device  merely  his  monogram,  as  we  might  nowa¬ 
days.  His  name  or  initials  might  appear  occasionally  on 
the  gem  in  a  secondary  place;  but  the  principal  design 
would  be  pictorial.  And  yet,  though  the  selection  was 
made  from  the  general  store,  there  must  often  have  been  a 
special  appropriateness  in  the  chosen  device,  as  in  the  family 
crests  or  the  individual  book-plates  of  today.  The  choice 
was  apparently  oftenest  a  favorite  deity,  or  mythological 
hero,  or  animal,  or  symbol;  sometimes  it  commemorated  a 
glorious  event  in  the  family  or  a  personal  deed  of  valor,  or 
it  was  the  portrait  of  an  ancestor,  or  friend,  or  leader. 
Often,  again,  there  would  be  no  special  relevancy — but 
the  design  would  be  a  beautiful  composition  that  appealed 
to  individual  taste.  It  is,  indeed,  just  this  element  of 
individuality  which  differentiates  the  gems  from  other 
classical  monuments  and  gives  them  much  of  their  charm; 
they  are  not  only  the  precious  possessions  of  individuals 
employed  by  them  for  their  own  particular  uses,  but  they 
were  in  most  cases  probably  specially  made  for  these  in¬ 
dividuals  and  so  express  their  personal  choice. 

A  number  of  seal  devices  of  prominent  men  are  de¬ 
scribed  by  ancient  writers,  and  what  we  know  of  their 
lives  and  characters  is  often  brought  out  in  the  selection 
of  their  badge.  Julius  Caesar,  we  are  told,  had  on  his  seal 
an  armed  Aphrodite,  which  shows  the  importance  he 
attached  to  the  legend  that  he  was  a  descendant  of  Aphro¬ 
dite  through  Aeneas  (cf.  Dio  Cassius,  XLI 1 1 ,  43)-  Augus¬ 
tus  began  by  having  a  sphinx  as  his  device,  then  a  portrait 
of  his  great  hero  Alexander,  and  finally,  when  his  position 
as  Roman  emperor  was  safely  established,  his  own  portrait 
(Pliny,  Natural  History,  XXXVII,  iv,  and  Suetonius, 
Augustus,  L).  Sulla  used  on  his  seal  a  representation 
of  Jugurtha  delivered  to  him  by  Bocchus  (Pliny,  Natural 


INTRODUCTION 


XX111 


History,  XXXVil,  iv).  In  the  sarcophagus  of  Scipio 
Barbatus  a  gold  ring  was  found  with  an  engraving  of  a 
winged  Victory  holding  a  palm  branch,1  while  the  great 
Pompey’s  signet  bore  a  lion  holding  a  sword  (Plutarch, 
Pompey,  LXXX,  5)  or  three  trophies  (Dio  Cassius,  XL!  I, 
18);  the  latter  device  being  also  used  sometimes  by  Sulla 
(Dio  Cassius,  loc.  cit.).  We  are  told  that  the  frog  used 
by  Maecenas  was  held  “in  great  terror”  by  the  people, 
since  it  appeared  on  decrees  levying  taxes  (Pliny,  Natural 
History,  XXXVI  I,  iv).  Galba  chose  for  his  badge  an  an¬ 
cestral  seal  with  a  dog  on  the  prow  of  a  ship  (Dio  Cassius, 
LI,  3);  Hadrian  his  own  portrait  (Aelius  Spartianus,  Vita 
Hadriani,  26);  and  the  decadent  Commodu's  a  portrait  of 
his  mistress  Marcia  as  an  Amazon  (Aelius  Lampridius, 
Commodus  Antoninus,  11).  It  was  considered  an  honor 
to  have  the  portrait  of  a  distinguished  ancestor  on  your 
seal,  but  you  were  expected  to  live  up  to  it.  When  young 
L.  Scipio  disgraced  himself  by  coming  to  an  election  in  a 
soiled  toga,  his  relatives  removed  from  his  hand  the  ring 
with  the  head  of  his  father,  Scipio  Africanus  (Valerius 
Maximus,  III,  5);  and  Cicero  rebuked  Lentulus  Sura  for 
being  implicated  in  the  Catilinarian  conspiracy  when  he 
ought  to  have  been  restrained  from  such  a  crime  by  the 
image  of  his  illustrious  ancestor2  on  his  seal  (Cicero,  Ora¬ 
tions  against  Catiline,  3,  V,  10).  An  equally  natural 
device  was  the  portrait  of  a  close  friend,  especially  during 
absence  (Ovid,  Tristia,  I,  vii,  5  ff.);  or  of  a  great  leader, 
like  Epicurus,  whose  portrait,  we  are  told,  appeared  on 
the  signets  of  all  his  followers  (Cicero,  De  Finibus,  V,  1,  3). 

There  were,  of  course,  official  as  well  as  individual  seals. 
We  know  that  the  seal  of  Augustus  with  his  own  portrait 

*Now  in  the  possession  of  the  Duke  of  Northumberland  at  Alnwick 
Castle;  cf.  Middleton,  Ancient  Gems,  p.  47. 

2Cornelius  Lentulus,  consul  B.  C.  162,  and  princeps  senatus. 


XXIV 


INTRODUCTION 


was  used  by  later  emperors  as  the  imperial  seal  of  Rome 
(Dio  Cassius,  LI,  3),  and  we  learn  from  Pliny  that  a  seal 
with  the  head  of  Claudius  was  used  as  a  sort  of  entrance 
ticket  to  gain  admittance  to  the  imperial  presence  (Nat¬ 
ural  History,  XXXI 1 1,  xii).  A  rather  picturesque  as  well 
as  appropriate  device  was  the  western  star  selected  for  their 
public  seal  by  the  Ozolian  Locrians,  the  most  westerly 
tribe  of  the  Locrians  (Strabo,  416). 

An  engraved  gem  used  for  an  official  purpose  is  very 
near  in  character  to  a  coin;  for  coins  are  the  public  counter¬ 
part,  so  to  speak,  of  gems;  they  bear  the  seal  of  the  state, 
while  gems  bear  the  seal  of  the  individual.  Naturally  the 
connection  between  these  two  types  of  monuments  must 
have  been  close,  since  they  presented  similar  problems  to 
their  makers.  Often  we  find  the  same  motives  on  the 
coins  and  gems  of  one  period ;  but  the  gems  which  represent 
individual  taste  show  a  much  greater  variety  of  subject 
than  the  coins  which  bear  the  emblems  of  cities.  Doubt¬ 
less  the  Greek  mints  were  a  constant  source  of  inspiration 
to  the  gem  engravers,  and  it  is  probable  that  sometimes 
the  same  man  was  master  of  both  arts  (cf.  p.  39). 

Gems  as  Ornaments 

Besides  serving  the  practical  purpose  of  sealing,  en¬ 
graved  gems  were  often  used  by  the  ancients  merely  as  or¬ 
naments,  the  combination  of  a  precious  material  and  an 
artistic  representation  making  such  a  use  singularly  appro¬ 
priate.  The  varied  colors  and  the  glitter  of  the  stones 
were,  of  course,  to  many  attraction  enough,  so  that  unen¬ 
graved  stones  were  employed  much  more  generally  for 
this  purpose  than  the  engraved  ones.  But  we  can  imagine 
that,  to  the  discriminating  at  least,  the  pleasure  in  a  beau¬ 
tiful  engraving  far  outweighed  the  more  primitive  delight 
derived  from  sparkling  stones. 


INTRODUCTION 


XXV 


In  earlier  Greek  times  the  ornamental  use  of  gems  was 
reserved  largely  for  public  or  religious  purposes.  We 
know,  for  instance,  that  the  throne  of  the  statue  of  Zeus  at 
Olympia  was  “adorned  with  gold  and  precious  stones,  also 
with  ebony  and  ivory”  (Pausanias,  V,  n),  and  that  the 
eyes  of  statues  were  inlaid  with  ivory  and  precious  stones 
(cf.,  e.  g.,  Plato,  Hippias  Maior,  290,  b,  c).  The  use  of 
gems  in  personal  jewelry  was  restricted,  as  we  know  from 
the  extant  examples,  in  which  the  gold  itself  is  worked 
with  wonderful  proficiency  without  any  addition  of  precious 
stones.  Only  occasionally  do  we  hear  of  their  use  in  neck¬ 
laces  and  earrings  (  Inscriptions  Graecae,  II,  ii,  645, 
652).  But  when  private  luxury  increased  in  Hellen¬ 
istic  and  Roman  times,  and  Oriental  stones  were  made 
more  accessible  to  the  West  through  the  conquests  of 
Alexander  the  Great,  we  find  gems  used  to  decorate  every 
conceivable  object  of  public  and  private  use.  Gold  and 
silver  vases  studded  with  gems  were  particularly  favored 
and  became  almost  a  mania  in  the  Roman  Imperial  pe¬ 
riod.1  Though  of  course  only  few  actual  specimens  of 
such  costly  works  have  come  down  to  our  times,2  Roman 
literature  is  full  of  allusions  to  their  popularity.  We  can 
faintly  picture  the  enormous  wealth  in  such  precious  ma¬ 
terial  when  we  hear  that  in  Pompey’s  triumphal  procession 
alone,  gold  vases  set  with  gems  “enough  for  nine  buffets” 
were  carried  among  the  spoils  (Pliny,  Natural  History, 
XXXVII,  vi),  or  when  we  are  told  that  in  the  imperial 
house  special  servants  were  appointed  whose  sole  duty 
it  was  to  act  as  “superintendents”  and  “assistant  super- 

1Cf.,  e.  g.,  Athenaeus,  V,  p.  199b;  Martial,  Epigrams,  XIV,  cviii, 
dx;  Juvenal,  V,  37  ff.,  etc.,  etc. 

2  For  a  few  gold  vases  encrusted  with  unengraved  stones,  cf.  S.  Reinach, 
Antiquit6s  du  Bosphore  Cimmerien,  pi.  XXV,  25  (found  at  Kertsch), 
and  A.  Odobesco,  Le  Tresor  de  Petrossa,  pp.  91  ff.  and  plates  facing  pp. 
90  and  94. 


XXVI 


INTRODUCTION 


intendents”  of  “gold  set  with  gems”  (Corpus  Inscrip- 
tionum  Latinarum,  VI,  8734-8736).  Such  vases  would  be 
kept  in  luxurious  cases,  sometimes  also  of  gold  and  precious 
stones  (Athenaeus,  V,  p.  199  f.),  and  when  taken  out  for 
use  at  dinner  parties  would  be  watched  by  a  special  guard¬ 
ian  “to  count  the  gems  and  keep  an  eye  on  the  guests’ 
sharp  finger  nails”  (Juvenal,  V,  37-45). 

We  know  to  what  extremes  luxury  in  the  Roman  Empire 
could  go;  so  we  are  not  surprised  when  we  read  that  not 
only  all  manner  of  jewelry1  was  set  with  precious  stones, 
but  many  articles  of  apparel.2  Lollia  Paulina,  the  wife 
of  Caligula,  is  described  at  quite  an  ordinary  function  as 
wearing  on  her  head,  her  hair,  her  ears,  her  neck,  her  arms 
and  fingers,  emeralds  and  pearls  valued  at  about  $143,500 
(quadringenties  sestertium).3  Women  were  particularly 
fond  of  pearls,  wearing  sometimes  two  or  three  in  their 
ears  so  that  they  rattled  one  against  the  other.4  We 
know  that  Julius  Caesar  gave  a  pearl  to  Brutus’  mother 
valued  at  about  $246,000  (sexagiens  sestertium)  .5  Caligula 
appeared  in  public  with  bejeweled  cloaks  and  bracelets6 
and  gave  a  necklace  set  with  precious  stones  to  his  favor¬ 
ite  horse.7  Both  he  and  Elagabalus  were  fond  of  wearing 
gems  on  their  shoes.8  The  idea  of  engraved  gems  on  shoes 

'Cf.,  e.  g.,  Virgil,  Aeneid,  I,  654-655;  Pliny,  Natural  History,  XXXVII, 
vi;  Suetonius,  Caligula,  LV,  3,  and  LI  I,  1;  Martial,  XI,  xlix  (1). 

2Cf.,  e.  g.,  Virgil,  I,  647-652;  Athenaeus,  V,  p.  200  b. 

3  Pliny,  Natural  History,  IX,  Iviii.  The  sestertius  was  worth  about  4.1 
cents  up  to  the  time  of  Augustus;  later,  about  |  less.  The  purchasing 
power  of  the  Roman  sum  would,  however,  be  much  more  than  an  equiva¬ 
lent  number  of  dollars  today. 

4  Pliny,  Natural  History,  IX,  lvi. 

6  Suetonius,  Julius  Caesar,  L. 

6Suetonius,  Caligula,  LI  I,  i. 

’Suetonius,  Caligula,  LV,  3. 

8Cf.,  e.  g.,  Pliny,  Natural  History,  XXXVII,  vi. 


INTRODUCTION 


XXVII 


appealed  even  to  the  Roman  sense  of  humor  and  it  was 
considered  a  joke  that  you  were  supposed  to  appreciate 
the  carvings  of  the  best  artists  on  Elagabalus’  feet  (Aelius 
Lampridius,  Vita  Elagabali,  23). 

Besides  personal  apparel,  we  hear  of  couches,1  tripods,2 
household  utensils,3  garlands,4  arms  and  armor,5  musical 
instruments,6  and  even  walls7  profusely  ornamented  with 
precious  stones.  The  object  of  such  decoration  was  no 
longer  art  but  a  mere  vulgar  display  of  opulence.  To 
have  your  portrait  made  of  pearls  and  carried  in  triumphal 
procession,  like  Pompey  the  Great,8  is  a  typical  instance 
of  such  extravagant  bad  taste. 

Roman  fashion  in  ring-wearing  passed  through  several 
interesting  stages.  During  the  Republic  the  use  of  a  ring 
was  more  or  less  practical,  to  serve  as  a  setting  for  a  seal,9 
as  a  token  of  betrothal,10  and  so  forth.  The  common 
material  for  such  rings  was  iron.  To  wear  a  gold  ring  was 
a  mark  of  rank  or  merit.11  In  the  Roman  Empire,  how¬ 
ever,  this  privilege  was  gradually  extended  to  persons  of 
inferior  rank,  such  as  freedmen,  at  first  with  reserve,  then 
more  and  more  freely,  until  by  the  time  of  the  later  em- 

>Cf.,  e.  g.,  Lucan,  Pharsalia,  X,  122. 

2Cf.,  e.  g.,  Athenaeus,  V,  p.  199  d. 

3Cf.,  e.  g.,  Lucan,  Pharsalia,  X,  122. 

4Cf.,  e.  g.,  Athenaeus,  V,  p.  202  d. 

6Cf.,  e.  g.,  Virgil,  Aeneid,  IV,  261,  and  Athenaeus,  V,  p.  202  e. 

6Cf.,  e.  g.,  Lucian,  IIp6s  rbv  &. iraiSevrov,  8,  where  we  hear  of  a  man 
going  to  Delphi  to  take  part  in  a  musical  contest  with  a  kithara  made  of 
pure  gold  and  set  with  different  colored  gems. 

7Cf.,  e.  g.,  Lucan,  Pharsalia,  X,  1 11-122. 

8Cf.  Pliny,  Natural  History,  XXXVII,  vi. 

9Macrobius,  Saturnalia,  VII,  xiii,  12. 

10Isidorus,  Origines,  XIX,  32. 

11  Pliny,  Natural  History,  XXXIII,  iv,  and  Appian,  Roman  History, 
VIII,  104. 


XXV111 


INTRODUCTION 


perors  practically  everyone  except  a  slave  was  allowed  to 
wear  a  gold  ring.1 

The  number  of  rings  worn  was  equally  on  an  ascending 
scale.  We  are  told  that  Crassus  (B.  C.  53)  was  one  of  the 
first  to  show  himself  with  two  rings.2  In  Horace’s  time 
three  on  one  hand  was  considered  a  large  number.3  Later 
more  and  more  were  worn,  some  people  putting  rings  on 
all  fingers  and  sometimes  several  on  one  finger,  using  all 
three  joints.4  Quintilian  recommends  orators  not  to  wear 
too  many  and  not  to  wear  them  above  the  second  joint;5 
and  Juvenal  (I,  28)  and  other  satirists  ridicule  young  men 
who  change  rings  according  to  the  seasons,  or  who  wear 
rings  whose  size  and  weight  are  better  adapted  for  their 
legs  than  their  fingers.6 

Gems  as  Amulets 

In  addition  to  serving  as  seals  and  as  ornaments,  gems 
in  ancient  times  played  an  important  role  as  objects  sup¬ 
posed  to  have  curative  and  protective  power.  Even  now¬ 
adays  the  belief  in  the  magical  properties  of  certain  stones 
is  still  prevalent  with  many  people;  so  that  we  can  easily 
understand  how  in  a  less  scientific  age  such  ideas  were 
both  wide-spread  and  deep-rooted.  We  have  abundant 
evidence  for  this  both  for  Greek  and  Roman  times.  Aris- 

lCf.  Macrobius,  Saturnalia,  VII,  xiii,  12.  In  spite  of  this  it  is  probable 
that  iron  remained  throughout  the  common  material  for  rings;  at  least 
this  would  account  for  the  fact  that  many  more  seals  than  rings  have 
been  preserved — for  iron  corrodes  and  gradually  disappears. 

2Cf.  Isidorus,  Origines,  XIX,  32. 

3Cf.  Horace,  Satires,  II,  vii,  8  f. 

4 Martial,  XI,  lix;  V,  xi;  V,  xii;  Isidorus,  Origines,  XIX,  32;  and 

Pliny,  .Natural  History,  XXXI 1 1,  vi.  Seneca,  Naturales  Quaestiones, 
VII,  31,  2. 

6Quintilian,  Institutio  Oratoria,  XI,  3,  142. 

6 Martial,  XI,  xxxvii. 


INTRODUCTION 


XXIX 


tophanes  speaks  of  the  “medicinal  ring”  which  druggists 
evidently  sold  cheap  to  their  clients  in  the  place  of  drugs 
(Plutus,  883  f.).  Such  rings,  we  are  told,  could  avert  the 
evil  eye  and  guard  against  snakes  (Scholia  to  Aristophanes, 
Plutus,  883-884) .  The  learned  Pliny  in  the  thirty-sixth  and 
thirty-seventh  books  of  his  Natural  History  quite  seriously 
gives  us  a  long  account  of  the  magical  properties  of  stones. 

The  diamond,  he  says,  cures  insanity  and  vain  fears, 
and  prevents  poisons  from  harming  (XXXVI 1,  xv,  4); 
the  amethyst  prevents  drunkenness;  if  engraved  with  the 
name  of  the  sun  or  moon  and  hung  around  the  neck  with 
hairs  of  a  cynocephalus  or  swallow’s  feathers,  it  is  an  anti¬ 
dote  for  poisons,  gives  right  of  access  to  kings,  and  averts 
hail  and  locusts  (XXXVII,  xl).  An  emerald  engraved 
with  an  eagle  does  the  same  (Pliny,  loc.  cit.) ;  a  certain  kind 
of  agate  is  beneficial  against  bites  of  spider  and  scorpion 
(XXXVII,  liv,  10).  Hematite  is  good  for  the  eyes  and 
liver,  gains  requests  addressed  to  kings,  and  is  useful  in 
lawsuits  (XXXVII,  lx);  mixed  with  juice  of  pomegranate 
it  cures  those  who  vomit  blood  (XXXVI,  xxxvii,  20). 
Sideritis  increases  anger  between  parties  to  a  lawsuit 
(XXXVII,  lxvii);  and  so  on,  through  a  long  list.  There 
certainly  were  compensations  in  an  unscientific  age  when 
you  could  believe  such  entertaining  things. 

Appreciation  of  Gems 

It  is  interesting  to  review  briefly  the  estimation  in  which 
gems  have  been  held  both  in  antiquity  and  in  more  recent 
times.  Appreciation  was  naturally  highest  when  the 
artistic  side  was  emphasized,  less  so  when  the  practical  or 
magical  qualities  were  the  chief  interest.  For  the  earlier 
epochs  our  information  is  not  very  full;  but  enough  to  show 
that  a  fine  gem  ranked  with  the  highest  works  of  art. 
Herodotos  (III,  40  and  41)  tells  us  in  one  of  his  most  dra- 


XXX 


INTRODUCTION 


matic  anecdotes  that  the  tyrant  Polykrates  was  advised 
by  Amasis,  king  of  Egypt,  to  forestall  the  gods’  envy  at  his 
good  fortune  by  casting  away  his  most  valued  possession. 
“Take  thought  and  consider,  and  that  which  thou  findest 
to  be  most  valued  by  thee,  and  for  the  loss  of  which  thou 
wilt  most  be  vexed  in  thy  soul,  that  take  and  cast  away  in 
such  a  manner  that  it  shall  never  again  come  to  the  sight 
of  men.”  And  Polykrates  chose  among  his  many  treas¬ 
ures  his  signet  “enchased  in  gold  and  made  of  an  emerald 
stone,  the  work  of  Theodoros,  the  son  of  Telecles  of  Sa¬ 
mos,”  and  threw  it  into  the  sea;  and  “when  he  came  to  his 
house  he  mourned  for  his  loss.”  How  the  stone  afterwards 
turned  up  in  the  belly  of  a  fish  is  a  familiar  story.  The 
incident,  imaginary  or  not,  clearly  shows  the  value  placed 
on  a  good  gem.1 

In  the  fifth  and  fourth  centuries  B.  C.  when  engraved 
gems  reached  their  highest  artistic  level,  they  also  had  of 
course  a  very  discriminating  public.  In  the  treasure  lists 
of  temples2  (the  Greek  equivalents  of  modern  museums) 
seals  are  frequently  mentioned  as  gifts  of  devotees.  The 
form  in  which  such  offerings  are  listed  is  generally  ow%  (or 
whatever  the  stone  may  be)  tov  8clktv\iov  xpwovv  (or 
apyvpovv)  exM,  “an  onyx  having  a  gold  (or  silver)  ring” 
— an  interesting  commentary  on  the  importance  of  the  seal 
compared  with  the  setting,  and  very  appropriate  when 
we  remember  the  size  of  fifth-century  stones  and  their 
plain  swivel  hoops.  In  a  Delian  inventory  of  the  third 
century  (c.  279  B.  C.)3  the  order  is  reversed,  the  expression 


1  The  unengraved  sardonyx  displayed  in  Rome  in  Pliny’s  time  as  Poly¬ 
krates’  stone  (Natural  History,  XXXVII,  iv),  shows  that  Roman  dealers 
even  then  could  count  on  a  credulous  public. 

2E.  g.,  of  the  Parthenon  and  of  the  Hekatompedon  cf.  Corpus  Inscrip- 
tionum  Graecarum,  II,  ii,  645,  646,  649,  652,  654,  751,  758,  835. 

Hnscriptiones  Graecae,  XI,  ii,  199  B.  v.  18. 


INTRODUCTION 


XXXI 


being  5o.ktv\ ios  xpvcrov s  avdpiuaov  e\uv,  “a  gold  ring  having 
a  carbuncle,”  indicating  a  change  both  in  point  of  view 
and  in  fashion  of  ring  setting  (cf.  p.  60). 

Alexander  the  Great  would  allow  his  portrait  to  be 
worked  on  gems  only  by  Pyrgoteles  (Pliny,  Natural 
History,  XXXVII,  iv),  presumably  the  best  engraver 
of  his  time — a  sign  that  good  workmanship  was  appre¬ 
ciated. 

In  the  strenuous  days  of  the  upbuilding  of  Rome’s 
power,  art  played  a  secondary  role  and  the  gems  served  a 
useful  rather  than  an  aesthetic  purpose.  But  in  late 
Republican  and  early  Imperial  times,  when  Greek  influ¬ 
ence  had  taught  the  Romans  the  value  of  art,  gem  collect¬ 
ing  became  a  passionate  pursuit.  Wealthy  men  vied 
with  one  another  in  procuring  fine  specimens  and  paid 
enormous  prices  for  them.  The  keenness  of  this  rivalry 
can  be  gauged  by  the  story  that  the  senator  Nonius  was 
exiled  from  Rome  because  he  refused  to  give  a  certain 
gem  (valued  at  20,000  sesterces,  about  $ 82,000 )  to  Marc 
Antony  (Pliny,  Natural  History,  XXXVII,  xxi).  Public- 
spirited  men,  then  as  nowadays,  after  having  formed  their 
collections,  would  present  them  to  the  people  and  deposit 
them  in  the  temples  for  all  to  enjoy.  Scaurus,  the  son- 
in-law  of  Sulla,  is  said  to  have  been  the  first  Roman  to  have 
a  “cabinet”  of  gems  (Pliny,  Natural  History,  XXXVII, 
v).  Pompey  placed  in  the  Capitol  the  famous  collection 
of  Mithridates,  part  of  his  eastern  spoils  (Pliny,  loc.  cit.) . 
Julius  Caesar  was  an  eager  and  discriminating  collector, 
especially  keen  to  obtain  gems  by  old  engravers  (Suetonius, 
Julius  Caesar,  xlvii).  We  are  told  that  he  deposited 
as  many  as  six  cabinets  ( dactyliothecae )  in  the  temple  of 
Venus  Genetrix  (Pliny,  loc.  cit.).  Marcellus,  the  son  of 
Octavia,  also  dedicated  his  gem  collection  in  the  temple  of 
Apollo  Palatinus,  perhaps  mindful  of  the  example  of  his 


XXXI 1 


INTRODUCTION 


illustrious  ancestor,  who  stripped  Syracuse  “of  the  most 
beautiful  of  the  dedicatory  offerings”  in  order  to  introduce 
among  his  countrymen  a  taste  for  “the  graceful  and  subtle 
art”  of  the  Greeks. 

After  the  first  century  A.  D.  interest  in  gem  engraving 
as  an  art  waned.  The  gems  were  still  employed  as  seals 
and  amulets,  but  there  was  no  longer  an  appreciation  of 
workmanship — with  the  lamentable  results  that  we  see  in 
the  engravings  of  the  period  (cf.  e.  g.  Nos.  344-401  in  this 
catalogue). 

Though  the  production  of  classical  gems  ended  with  the 
break-up  of  the  Roman  Empire  in  the  fifth  century  A.  D., 
their  history  continues;  for  they  have  exercised  a  great  in¬ 
fluence  on  later  generations.  In  the  Middle  Ages  the  high 
estimation  in  which  they  were  held  is  clearly  seen  by  their 
insertion  as  ornaments  in  precious  Christian  reliquaries; 
but  this  esteem  was  not  accompanied  by  good  judgment, 
for  the  gems  are  generally  of  poor  quality.  In  the  Renais¬ 
sance,  however,  the  case  was  different.  Enthusiasm  for 
Greek  and  Roman  art  was  combined  with  a  fine  critical 
faculty,  and  not  only  were  ancient  gems  ardently  collected 
for  their  art  value,  but  a  spirited  production  of  contempo¬ 
rary  work  was  thereby  stimulated.  A  good  illustration 
of  the  value  placed  on  ancient  gems  at  this  time  is 
the  much-quoted  story  of  Paul  II,  who  offered  to  build 
the  city  of  Toulouse  a  new  bridge  in  exchange  for  a  large 
antique  cameo  in  its  possession  (now  in  Vienna,  cf.  Furt- 
wangler,  Antike  Gemmen,  pi.  lvi),  and  whose  offer  was  de¬ 
clined. 

The  Renaissance  gem  engravers,  though  clearly  in¬ 
fluenced  by  classical  work  and  often  reproducing  the  same 
subjects,  almost  always  show  a  marked  character  of  their 
own.  In  the  eighteenth  and  early  nineteenth  centuries — 
the  second  great  period  of  post-classical  gem  engraving — 


INTRODUCTION 


XXX111 


admiration  for  the  antique  was  equally  great,  but,  being 
unaccompanied  by  originality,  resulted  in  very  close  imi¬ 
tation  of  ancient  models.  Many  famous  collections  of 
ancient  gems  were  formed  by  eager  patrons  who  spared 
neither  time  nor  money  in  their  pursuit;  and  these  collec¬ 
tions  were  published  in  sumptuous  volumes  with  finely 
etched  illustrations  by  famous  artists.  Enthusiasm  for  the 
beauty  of  the  antique  could  not  have  been  more  ardent  or 
in  a  manner  more  sincere;  and  yet  it  suffered  from  a  fatal 
defect — it  was  uncritical.  The  result  was  that  practically 
nobody,  either  collector  or  engraver,1  was  able  to  differen¬ 
tiate  genuine  ancient  work  from  contemporary  imitation. 
Every  collection  became  flooded  with  forgeries,  and  the 
forgers  grew  bolder  and  bolder,  until  the  whole  fabric 
collapsed  with  the  scandal  of  the  Poniotowski  Collection 
in  1 840. 2  When  people’s  eyes  were  at  last  opened  to  the 
deceit  that  had  been  practised,  their  faith  was  undermined 
and  their  desire  for  gem  collecting  ceased. 

It  is  in  comparatively  recent  times  that  interest  in  an¬ 
cient  gems  has  been  revived,  due  chiefly  to  the  fact  that 
the  knowledge  of  the  subject  now  rests  on  firmer  founda¬ 
tions.  During  the  second  half  of  the  nineteenth  century 
the  study  of  classical  art  underwent  a  great  change — it 
became  scientific.  From  being  a  recreation  practised  by 
wealthy  dilettanti  it  has  become  the  profession  of  scholars. 
This  does  not  mean  that  appreciation  of  beauty  has  be¬ 
come  secondary  to  historical  and  archaeological  research. 
Quite  the  contrary.  It  means  that  scientific  approach, 
together  with  the  greatly  increased  material  at  our  dis- 

1  Natter,  in  his  Traite  de  la  methode  antique  de  graver  en  pierres  fines 
(1754),  calls  several  stones  ancient  which  could  only  have  been  made  by 
his  own  contemporaries! 

2  For  an  account  of  this  dramatic  story  cf.  S.  Reinach,  Pierres  gravees, 
pp.  151  ft. 


XXXIV 


INTRODUCTION 


posal  (derived  from  the  excavations  of  the  last  fifty  years), 
has  enabled  us  to  emerge  from  a  mass  of  fanciful  theories 
and  to  build  up  a  history  of  classical  art — incomplete  as 
yet,  it  is  true — but  resting  on  sound  foundations.  Within 
this  new  structure  we  have  learned  to  differentiate  styles, 
assign  periods,  and  interpret  subjects,  not  according  to 
our  own  imagination,  but  as  closely  as  we  can  in  the  an¬ 
cient  spirit.  For  the  difference  is  just  this:  whereas  the 
eighteenth-century  student  looked  at  an  ancient  work 
subjectively,  interested  more  in  the  thoughts  suggested 
to  him  by  a  rather  superficial  contact  with  the  original, 
we  now  view  it  objectively,  studying  it  minutely  in  every 
detail  and  losing  ourselves  completely  in  it.  In  other 
words,  while  they  spoke  to  the  work  of  art,  we  let  the  work 
of  art  speak  to  us.  The  difference  in  the  two  points  of 
view  is  seen  in  our  respective  publications.  In  the  hand¬ 
some  eighteenth-century  catalogues  of  ancient  gems,  these 
little  monuments  are  elaborately  published,  each  gem 
beautifully  engraved  on  a  separate  plate,  with  the  descrip¬ 
tive  text  finely  printed.  But  the  gems  are  valued  often 
less  for  what  they  really  are  than  for  what  they  might 
suggest  of  lost  paintings  or  sculptures.  Genuine  examples 
are  mixed  with  forgeries  in  a  manner  showing  complete 
absence  of  a  discriminating  appreciation.  The  discus¬ 
sion  of  subjects  and  periods  is  based  on  so  little  knowledge 
that  the  text  is  now  almost  worthless.  And  even  the 
plates,  beautiful  as  many  are  as  etchings,  are  too  inaccu¬ 
rate  as  illustrations  to  serve  as  an  estimate  of  the  originals. 
There  could  not  be  a  greater  contrast,  in  fact,  between 
these  books  and  our  standard  work  of  today — Furt- 
wangler’s  Antike  Gemmen.  Here  we  have  a  clear  exposi¬ 
tion  of  the  history  of  gems,  enabling  the  reader  to  obtain 
an  idea  of  the  evolution  of  this  art,  as  well  as  to  give  each 
individual  gem  its  place  historically  and  artistically;  while 


INTRODUCTION 


XXXV 


in  the  identification  of  subjects  the  attempt  is  made 
everywhere  to  penetrate  as  much  as  possible  the  intention 
of  the  artist — to  view  the  gem  with  Greek  instead  of  mod¬ 
ern  eyes.  The  illustrations  are  mechanical  photographic 
reproductions,  not  beautiful  in  themselves,  but  repro¬ 
ducing  in  an  accurate  manner  the  beauty  of  the  originals, 
and  thus  a  trustworthy  basis  for  study  and  appreciation. 

Gem  Engravers 

In  almost  every  art,  ancient  and  modern,  there  are  a 
few  prominent  artists  who  stand  out  as  the  leaders  of  their 
profession.  Contemporary  writings  tell  us  of  their  fame, 
or  their  works  are  known  by  their  signatures.  Both  these 
sources  of  information  are  available  in  regard  to  gem  en¬ 
gravers.  Greek  and  Latin  writers  mention  the  names  of 
several  artists  in  that  field,  and  many  more  are  known 
from  signed  works.  But  rarely  are  several  gems  by  the 
same  artist  preserved  and  rarer  still  is  a  name  both 
recorded  in  literature  and  found  on  a  gem;  so  that  in  only 
a  few  cases  can  we  form  any  clear  idea  of  the  stylistic 
development,  personality,  or  exact  dating  of  these  en¬ 
gravers. 

The  greatest  of  the  ancient  gem  engravers  of  whom  we 
have  any  knowledge  is  undoubtedly  Dexamenos  of  Paros, 
of  the  fifth  century  B.  C.,  by  whom  we  are  fortunate  in 
having  four  signed  works  (see  below).  Several  other  gems 
have  been  assigned  to  him  on  stylistic  grounds  (Furtwang- 
ler,  Antike  Gemmen,  III,  137  and  139).  He  is  disting¬ 
uished  for  his  delicacy  of  line,  finish  of  detail,  and  dignity 
of  conception.  In  fact,  Dexamenos  is  in  the  field  of  gem 
engraving  what  Pheidias  is  in  Greek  sculpture,  Poly- 
gnotos  in  Greek  painting,  and  Evainetos  in  Greek  coinage. 
His  work  represents  the  high-water  mark  of  achievement. 

We  know  that  Alexander  the  Great  allowed  only  Pyrgo- 


XXXVI 


INTRODUCTION 


teles  to  engrave  his  head  on  gems  (see  below).  To  obtain 
such  a  privilege  he  must  have  been  the  chief  man  of  his 
craft  at  the  time.  Unfortunately,  none  of  his  works  is 
preserved,  but  it  is  possible  that  of  the  many  Alexander 
heads  on  gems  a  few  reflect  his  style  (cf.,  e.  g.,  Furtwangler, 
Antike  Gemmen,  pis.  xxxi,  17,  19,  20,  and  xxxii,  1-9,  13). 

Another  gem  engraver  who  deserves  special  mention  is 
Dioskourides,  who  is  both  recorded  in  literature  as  the 
maker  of  Augustus’  seal,  and  whose  signature  appears  on 
several  extant  stones.  His  work  is  among  the  best  that 
the  Graeco-Roman  period  has  produced  in  any  field,  rank¬ 
ing  high  in  finish  and  in  design,  and  yet,  like  all  art  of  this 
epoch,  eclectic  and  unoriginal. 

In  judging  the  signatures  of  artists  on  gems,  we  must  bear 
in  mind  that  a  name  inscribed  on  a  gem,  besides  referring 
to  the  maker  of  the  design,  can  denote  the  owner  of  the  seal, 
or  be  explanatory  of  the  figure  represented.  A  signature 
can  generally  be  differentiated  from  other  inscriptions  by 
its  inconspicuous  character.  It  did  not  form  part  of  the 
composition  but  was  added  to  the  finished  design;  while 
the  owner’s  name  would  naturally  be  an  important  part 
of  a  personal  seal,  and  therefore  occupied  a  prominent 
place.  The  artist’s  name  appears  either  in  the  nominative 
with  or  without  kirola,  “made  it,”  or  in  the  genitive  with 
'ipyov,  “  the  work  of,”  understood.  Rarely  the  name  of  the 
father  is  added,  and  sometimes  the  name  of  the  country. 
Generally  the  inscription  reads  from  left  to  right  in  the 
impression,  but  especially  in  the  earlier  period  the  con¬ 
trary  also  occurs.1 

Both  in  the  Renaissance  and  in  the  eighteenth  and  nine¬ 
teenth  centuries  an  ancient  gem  with  an  artist’s  signature 

1For  further  epigraphical  details  of  the  inscriptions  on  gems  in  different 
periods  cf.  Furtwangler,  Jahrbuch  des  archaologischen  Instituts,  1889, 
pp.  77  ff. 


INTRODUCTION 


XXXV11 


was  highly  prized.  The  natural  consequence  was  that 
unscrupulous  forgers  added  such  signatures  both  on 
genuine  ancient  gems  and  on  their  own  works.  As  these 
signatures  are  sometimes  very  well  cut,  they  have  created 
great  confusion  for  collectors  and  experts.  It  must  also 
be  remembered  that  the  engravers  of  the  eighteenth  and 
nineteenth  centuries  were  in  the  habit  of  signing  their 
names  on  their  own  works  in  Latin  or  Greek  characters, 
so  that  familiarity  with  their  names  is  important. 

The  following  lists  may  be  helpful  to  collectors' in  iden¬ 
tifying  signed  gems.1 


I  ANCIENT  GEM  ENGRAVERS  MENTIONED  IN  LITERATURE 


ENGRAVER 

Apollonides 

Cronius 

Dioskourides 

Official  engraver  of  Augustus, 
famous  for  his  portrait  of 
Augustus 

Mnesarchos  of  Samos 

Father  of  the  philosopher  Py¬ 
thagoras;  VI  century  B.  C. 

Pyrgoteles 

Official  engraver  of  Alexander 
the  Great 

Theodoros  of  Samos 

Maker  of  ring  of  Polykrates; 
VI  century  B.  C. 

Tryphon 

Made  a  representation  of  Ga- 
lene  on  an  Indian  beryl 


REFERENCE 

Pliny,  Natural  History,  37,  8 

“  37.  8 

“  37.  8 

Suetonius,  Octavius,  chapter  50 


Diogenes  Laertius,  VIII,  1 


Pliny,  Natural  History,  37,  4 


Herodotos,  III,  40  and  41 


Greek  Anthology,  IX,  544 


1  Lists  I,  II,  III,  and  IV  are  compiled  from  Furtwangler’s  valuable  ar¬ 
ticles  on  this  subject,  Studien  iiber  die  Gemmen  mit  Kunstlerinschriften, 
in  Jahrbuch  des  archaologischen  Instituts,  1888,  pp.  105  ff.,  193  ff,  and 
1889,  pp.  46  ff.,  with  a  few  additions.  List  V  is  taken  from  Dalton, 
Catalogue  of  the  Engraved  Gems  of  the  Post-Classical  Period  in  the 
British  Museum,  pp.  xlviii  ff.,  also  with  a  few  additions. 


XXXV111 


INTRODUCTION 


II  ANCIENT  GEM  ENGRAVERS  KNOWN  BY  THEIR 
SIGNATURES 


VI-V  CENTURIES  B.  C.,  ARCHAIC  PERIOD 


ENGRAVER 

WORK  1 

PUBLISHED 

Aristoteiches 

Lioness 

Furtwangler,  Ant.  Gemmen,  pi.  viii,  43 

(Perhaps 

owner’s,  not 

artist’s  name) 

Epimenes 

Youth  with  horse 

"  ix,  14 

Semon 

Woman  at  foun¬ 

tain 

“  viii,  28 

Syries 

Lyre-player 

“  “  viii,  1 1 

V  CENTURY  B.  C. 

Athenades 

Scythian 

Furtwangler,  Ant.  Gemmen,  pi.  x,  27 

Dexamenos 

of  Chios 

Woman  with  maid 

“  xiv,  1 

Heron 

“  HI.  P-137. 

fig-  94 

Flying  heron 

Furtwangler,  Ant.  Gemmen,  pi.  xiv,  4 

Portrait  of  man 

“  “  xiv,  3 

Pergamos 

Youth  with  Phry¬ 

gian  cap 

“  xiii,  2 

IV  CENTURY  B.  C. 

Olympios 

Eros  shooting  an 

arrow 

Furtwangler,  Ant.  Gemmen,  pi.  xiv,  8 

Onatas  (?) 

Nike  erecting  a 

(spelling 

trophy 

“  xiii, 3  7 

uncertain) 

# 

Phrygillos 

Eros 

"  xiv,  6 

HELLENISTIC  PERIOD 

Agathopus 

Portrait  of  man 

Furtwangler,  Ant.  Gemmen,  pi.  xxxiii, 

Apollonios 

Portrait  of  man 

9 

Furtwangler,  Ant.  Gemmen, pi. lxiii,  36 

Athenion 

*Contest  of  Zeus 

and  Giants 

‘  “  “  "  lvii,  2 

*Chariot 

“  III,  p.158. 

fig.  1 10 

lThe  works  marked  with  an  asterisk  are  cameos,  the  others  intaglios. 


INTRODUCTION 


XXXIX 


ENGRAVER  WORK1 


Boethos 

Daidalos 

*Philoktetes 
Portrait  of  man 

Gelon 

Herakleidas 

*Aphrodite 

Portrait  of  man 

Lykomedes 

Portrait  of  Be- 
renike  I  as  Isis 

Nikandros 

Portrait  of  wo¬ 
man 

Onesas 

Athena 

Muse 

Head  of  Hera¬ 
kles 

Pheidias 

Youth  putting  on 
a  greave 

Philon 

Portrait  of  man 

Protarchos 

*Eros  riding  on 
lion 

*Aphrodite 

Skopas 

Portrait  of  man 

Sosis 

Woman  bathing 
*Herakles  and 
Centaur 

PUBLISHED 

Furtwangier,  Ant.  Gemmen,  pi.  Ivii,  3 
A.  de  Ridder,  Catalogue  de  la  Collec¬ 
tion  de  Clercq,  VII,  2,  No.  2854 
Furtwangier,  Ant.  Gemmen,  pi.  lxvi,  4 

“  xxxiii, 
15 

Furtwangier,  Ant.  Gemmen,  pi.  xxxii, 
3i 

Furtwangier,  Ant.  Gemmen,  pi.  xxxii, 
30 

Furtwangier,  Ant.  Gemmen,  pi.  xxxiv, 
43 

Furtwangier,  Ant.  Gemmen,  pi.  xxxv, 

23 

Furtwangier,  Ant.  Gemmen,  pi.  xxxv, 
26 

Furtwangier,  Ant.  Gemmen,  pi.  xxxiv, 
18 

Furtwangier,  Ant.  Gemmen,  pi.  xxxiii, 

13 

Furtwangier,  Ant.  Gemmen,  pi.  Ivii,  1 
Furtwangier,  Ant.  Gemmen,  III,  p. 
447,  fig.  230 

Furtwangier,  Ant.  Gemmen,  pi.  xxxiii, 
8 

Furtwangier,  Ant.  Gemmen,  pi.  1,  13 
Furtwangier,  Ant.  Gemmen,  pi.  lxv,i  1 


GRAECO-ROMAN  PERIOD 

Agathangelos  Portrait  of  Sex¬ 
tus  Pompeius  Furtwangier,  Ant.  Gemmen, pi. xlix,  26 

Agathemeros  Head  of  Sokrates  “  “  “  “  1,  2 

Anteros  Herakles  and  Bull  “  “  “  “  xlix,  13 

Apollonios  Artemis  “  “  “  “  xlix,  8 

Aspasios  Athena  "  "  xlix,  12 

iThe  works  marked  with  an  asterisk  are  cameos,  the  others  intaglios. 


xl  INTRODUCTION 


ENGRAVER 

WORK1 

PUBLISHED 

Aspasios 

Dionysos 

Furtwangler,  Ant.  Gemmen,  pi.  xlix,  15 

Fragment 

Jahrbuch  des  Instituts, 

Aulos 

Nymph 

1888,  pi.  10,  9 

Furtwangler,  Ant.  Gemmen, pi.  xlix,  31 

Aphrodite 

“  “  “  "  xlix,  17 

Head  of  Satyr 

“  “  xlix,  23 

Eros 

“  “  xlix,  27 

*Eros 

“  “  "  “  lvii,  9 

Athlete 

“  “  “  “  1, 8 

Quadriga 

Jahrbuch  des  Instituts, 

Horseman 

1888,  pi.  3,  1 1 

Furtwangler,  Jahrbuch  des  Instituts, 

Poseidon  and 
Amymone 

1888,  pi.  10,  23 

Furtwangler,  Jahrbuch  des  Instituts, 

Dalion 

Head  of  youth 

1889,  pi.  2,  3  and  4 

Furtwangler,  Ant.  Gemmen,  pi.  xlix,  3 

Nereid 

“  “  “  “  xlix,  30 

Diodotos 

Head  of  Medusa 

Jahrbuch  des  Instituts, 

Dioskourides 

Diomedes 

1889,  pi.  2,  6 

Furtwangler,  Ant.  Gemmen,  pi.  xlix,  1 

Hermes 

“  “  “  "xlix,  6 

Hermes 

“  “  “  “  xlix,  10 

lo 

“  “  “  "xlix,  9 

Demosthenes 

“  “  "  “xlix,  7 

*Herakles 

"  "  “  "lii,  5 

*Fragment 

"  "  “  "lvii,  8 

Achilles 

“  "  "  III,  p. 

Epitynchanos 

Portrait  of  Ger- 

356,  fig.  197 

manicus  (?) 

Furtwangler,  Jahrbuch  des  Instituts, 

Euodos 

Portrait  of  Julia 

1888,  pi.  11,  1 

Titi 

Furtwangler,  Antike  Gemmen,  pi. 

Eutyches 

Athena 

xlviii,  8 

Furtwangler,  Ant.  Gemmen,  pi.  xlix,  1 1 

(son  cf  Di¬ 
oskourides) 
Felix 

Odysseus  and 

Diomedes 

“  “  "  “xlix,  4 

Gaios 

Head  of  dog  Sirius 

■<  a  a  a  >  . 

>.  4 

‘The  works  marked  with  an  asterisk  are  cameos,  the  others  intaglios. 


INTRODUCTION 


xli 


ENGRAVER 

WORK1 

Gnaios 

Herakles 

Herophilos 

Diomedes 

Muse 

Athlete 

Portrait  of  wo¬ 
man 

Portrait  of  Ti¬ 

(son  of  Di- 

berius 

oskourides) 

Hylios  (son  *Satyr  head 

of  Dios- 
kourides) 

Kleon 

Theseus 

Head  of  Apollo 
Portrait  of  a  bar¬ 
barian 

Head  of  Amazon 

Koinos 

Apollo 

Youth  with  dog 

Lucius 

Chariot 

Aefuaos 

Mykon 

Muse 

Pamphilos 

Achilles 

Philemon 

Theseus 

Polykleitos 

Diomedes 

Quintus,  bro- 

ther  of  Au- 

Fragment 

los  (Kolyros) 

Rufus 

*Nike  with  quadri¬ 
ga 

Saturninus 

Portrait  of  An¬ 
tonia 

Skylax 

Satyr 

*Eros 

Solon 

Head  of  Medusa 

PUBLISHED 

Furtwangler,  Ant.  Gemmen,  pi.  xlix,  20 

“  "  xlix,  2 

“  “  xlix,  28 

“  “  I,  9 

Our  No.  218 

Furtwangler,  Ant.  Gemmen,  III,  p. 
319,  fig.  162 

Furtwangler,  Ant.  Gemmen,  pi.  lii,  2 

"  "  "  “xlix,  2 1 

“  "  "  “  xlix,  29 

Jahrbuch  des  Instituts, 
1888,  pi.  10,  2 

Furtwangler,  Ant.  Gemmen,  pi.  lxi,  37 

II,  p.276 
Jahrbuch  des  Instituts, 
1888,  pi.  10,  20 

Furtwangler,  Jahrbuch  des  Instituts, 
1888,  pi.  10,  25 

Furtwangler,  Antike  Gemmen,  pi.  1,  14 

For  a  later  copy  of  a  lost  portrait 
by  Mykon,  cf.  Furtwangler,  Jahr¬ 
buch  des  Instituts,  1888,  pi.  10,  22 

Furtwangler,  Ant.  Gemmen,  pi.  xlix,  18 
“  “  xlix,  22 

Jahrbuch  des  Instituts, 
1888,  pi.  8,  28 

Furtwangler,  Jahrbuch  des  Instituts, 
1888,  pi.  10,  19 

Furtwangler,  Ant.  Gemmen,  pi.  Ivii,  6 

Jahrbuch  des  Instituts, 
1888,  pi.  1 1,  3 

Furtwangler,  Ant.  Gemmen,  pi.  xli,  26 
“  “  “  “  Ivii,  10 

“  “  "  "  xl,  18 


'The  works  marked  with  an  asterisk  are  cameos,  the  others  intaglios. 


xlii  INTRODUCTION 


ENGRAVER 

WORK1 

PUBLISHED 

Solon 

Nymph 

Furtwangler,  Ant.  Gemmen,  pi.  xxxvi, 
30 

Diomedes 

Furtwangler,  Ant.  Gemmen,  pi.  xlix,  5 

Herakles 

“  I  Ik  P-354, 

fig.  196 

Sosos  or  So- 

Eros 

Stosch,  Gemmae  antiquae  caelatae, 
pi.  64 

sokles 

Head  of  Medusa 

Furtwangler,  Ant.  Gemmen,  pi. xlix,  14 

Sostratos 

Nike  sacrificing 

bull 

"  “  xlix,  19 

*Eos  in  chariot 
*Eros  with  chariot 
drawn  by  two 

“  “  lvii,  5 

panthers 

“  lvii,  7 

Teukros 

Herakles  and 

nymph 

“  “  “  “  xlix,  25 

Tryphon 

*Wedding  of  Eros 

and  Psyche 

“  lvii,  I  I 

.  .midias 

*Griffin 

“  “  “  “  lvii,  4 

III  NAMES  OF  GEM  ENGRAVERS  (LARGELY  SPURI- 

ous)  FREQUENTLY  USED  BY  FORGERS 
SOMETIMES  ON  GENUINE  STONES 

Aetion,  Agathemeros,  Ammonios,  Apollonides,  Axeo- 
chos,  Epitonos,  Glykon,  Heius,  Hellen,  Hellenios,  Her- 
maiskos,  Karpos,  Kronios,  Neisos,  Pergamos,  Seleukos, 
Skopas,  Thamyras. 

IV  NAMES  KNOWN  TO  US  AS  ANCIENT  OWNERS 
USED  BY  FORGERS  TO  SIGNIFY  ENGRAVERS 

Admon,  Allion,  Alpheos,  Nicomacus,  Pharnakes. 

V  GEM  ENGRAVERS  OF  THE  EIGHTEENTH  AND  NINE¬ 
TEENTH  CENTURIES  WITH  THEIR  SIGNATURES 

Amastini,  A .  AMASTINI 

Later  XVI 1 1 
century 


1The  works  marked  with  an  asterisk  are  cameos,  the  others  intaglios. 


INTRODUCTION 


xliii 


Unknown . 

1725 

M.  ASCLIARI 

Bernabe,  F . 

XVIII  century. 

B.  <t>.  E. 

BEPNABE  ETTOIEI 

BHPNABH  ETTOIEI 
<I>EA1E 

Becker,  P.  C . 

1675-1743 

Brown,  William . 

1748-1825  and 
Brown,  Charles  (bro¬ 
ther  of  William) 

P.  C.  B. 

D.  BECKER 

BROWN 

W.  BROWN 

C.  BROWN 

W.  BROWN,  C.  BROWN 

W.  BROWN,  C.  BROWN  INV. 

Burch,  Edward . 

d.  1814 

Cades,  T . 

Late  XVIII  and 
early  XIX  cen¬ 
turies 

r BURCH 
t  BVPX 

CADES 

Cerbara,  N . 

Early  XIX  cen¬ 
tury 

CERBARA 

Costanzi,  Carlo . 

1703-1747 

CA  VA  L I E  R  E  CA  R  LO  COSTAN  S I 
EQVES  COSTANSI 

K.  KOCTANCI 

Ghingi,  F . 

XVI 1 1  century 

riNnoc  eTTOiei 

Gibbon .  GIBBON 

Later  XVI 1 1  and 
early  XIX  cen¬ 
turies 


Girometti,  G. . 
1780-185 1 


GIROMETTI 

riPOMGTTOY 


INTRODUCTION 


xliv 


Guay,  J . 1 

1 7 1 1  - 1 793  (?)  1 

I  GUAY  F. 

[GUAY 

Jacobson,  A . 

XIX  century 

JACOBSON  F. 

Manson .  MAN  SON 

XVIII  or  early 

XIX  century 


Marchant,  N . 

1755-1812 

MARCHANT 

N.  MARCHANT 

MARCHANT  FECIT  ROMAE 
MAPXANT  ETTOIEI 

Morelli,  N . 

1739-1835 

MORELLI 

L.  N. 

Natter,  J.  L . 

1705-1763 

L.  NATTER 

NATTGP  ETTOIEI 

NATTEP  ETTOIEI 

YAPOY 

Passaglia . 

XVIII  century 

fTTAZAAIA 

TTAZAAIAS 

Pichler,  Anton . 

1697-1779 

ATT. 

TTIXAGP 

ANTONIOY  TTIXAHPOS 
PICHLER.  F, 

A.  P.  F. 

Pichler,  Giovanni  (son 

of  Anton) . 

1734-1791 

TTIXAGP 

TTIXAGP  GTTOIGI 

Pichler,  Luigi  (son 
of  Anton) 
1773-1854 

A.TT. 

A.  TTIX. 

A  TTIXAGP 

TTIXAGP 

INTRODUCTION 


xlv 


Rega .  PET  A 

1761-1833  (?) 


Rosi,  G . I  IEP.  POCI 

XVIII  century  |  IEP.  0.  POSIOC 


Santarelli . 

1 759- 1 826 

Siries,  L . 

Middle  of  XVI 1 1 
century 


SANTARELLI 


L.  S.  • 

L.  SIRIES 
LOVIS  SIRIES 


Sirleti,  Flavio 
d.  1737 


<t>.  5. 

4>A  ABIOY 

KAPTTOY  (conjecturally  assigned 
to  Sirleti) 


Sirleti,  Francesco 
(son  of  Flavio) . 


FRAN.  SIRLETI 
4>PArK.  SIPAHTOS 
T.  <t>.  5. 


Torricelli . f  TOPPIKGAAIOC 

XVIII  century  j  TOPPI KGAAIOC  GTTOIG I 

Tuscher,  Marc .  MAPXOC 

XVIII  century 

Vernon .  VERNON  F. 

Late  XVIII  and 
early  XIX  cen¬ 
turies 


Walther  (?) .  OVAA0GP 

Late  XVI 1 1  cen¬ 
tury 

Weber,  L.  M .  L.  M.  V 

XVI 1 1  century 

Wray,  R.  B .  0YPAI05  GTTOIGI 

About  1770 


xlvi 


INTRODUCTION 


Forgeries 

The  problem  of  differentiating  between  a  genuine  work 
and  a  forgery  confronts  the  archaeologist  in  every  branch 
of  classical  art,  but  nowhere  is  this  question  so  difficult  of 
settlement  as  in  engraved  gems.  First  of  all,  there  are  no 
decisive  technical  criteria.  The  stones  used  in  antiquity 
are  practically  the  same  as  those  in  modern  use,  and  the 
methods  of  engraving  employed  in  ancient  and  modern 
periods  are  likewise  the  same.1  Moreover,  a  gem  remains 
unaltered  by  age,  it  acquires  no  patina  or  incrustation  or 
iridescence,2  the  only  appreciable  change  being  that  the 
surface  sometimes  becomes  slightly  worn  and  covered  with 
little  scratches.  But  as  ancient  gems  were  often  repol¬ 
ished  in  later  times  and  modern  gems  can  be  artificially 
scratched,3  such  evidence  helps  in  neither  way.  Even 
when  a  stone  is  in  its  original  mount,  this  is  no  decisive 
proof  of  the  antiquity  of  the  design,  as  ancient  gems  were 
sometimes  partly  drilled  out  and  re-engraved. 

Stylistic  criticism  is  also  confronted  with  unusual  diffi¬ 
culties  in  this  field.  For  in  the  eighteenth  and  nineteenth 
centuries  we  have  the  rare  phenomenon  of  eminent  artists 
willing  and  able  to  copy  directly  the  products  of  an  earlier 
age.  Such  imitations  were,  moreover,  made  on  a  large 
scale  to  supply  a  wide-spread  demand,  and  are  therefore 
not  isolated  products  but  exist  in  large  quantities.  Where 
such  copying  from  ancient  gems  is  free,  detection  is  easy 

1Cf.  Natter,  Traite  de  la  methode  antique  de  graver  en  pierres  fines 
(1754)- 

2  Except  of  course  the  glass  pastes. 

3Cf.  O.  M.  Dalton,  Post-Classical  Gems  in  the  British  Museum,  p. 
Ixvi,  and  Middleton,  The  Engraved  Gems  of  Classical  Times,  p.  101,  on 
the  ingenious  methods  employed  to  produce  such  scratches;  one  of  the 
most  efficacious  is  supposed  to  be  to  cram  the  newly  cut  gem  down  a 
turkey’s  throat,  and  leave  it  for  a  few  days  to  be  shaken  up  with  the  bits 
of  stone  and  gravel  which  are  contained  in  the  turkey’s  craw! 


INTRODUCTION  xlvii 

enough,  for  the  spirit  of  the  antique  and  of  the  eighteenth 
century  are  so  fundamentally  different  that  almost  inva¬ 
riably  we  find  obvious  differences  in  expression,  in  pose, 
in  composition,  or  in  treatment.  Where  the  copying  is 
close,  however,  a  real  problem  confronts  us.  There  are 
certain  gems  about  which  even  trained  archaeologists 
will  always  disagree.  Nevertheless,  the  really  doubtful 
cases  are  comparatively  rare.  The  eighteenth-century 
engraver  had  too  little  real  knowledge  of  ancient  art,  and 
was  too  strongly  influenced  by  his  own  outlook,  not  al¬ 
most  unconsciously  to  modify  what  he  was  copying — and 
his  variation  is  our  clue.  An  impossible  costume,  a  strange 
headdress,  unstructural  modeling,  a  stilted  pose,  a  wrong 
attribute,  a  faulty  inscription,  some  mistake  somewhere, 
almost  always  gives  the  forger  away.1 

Ability  to  detect  such  forgeries  rests  therefore  on  an  eye 
trained  by  long  familiarity  with  genuine  works,  as  well 
as  on  a  thorough  knowledge  of  archaeology,  which  teaches 
us  what  is  possible  and  what  is  impossible  in  ancient  art. 
This  valuable  faculty  can  naturally  be  acquired  only  grad¬ 
ually,  and  we  may  add  that  the  dangers  of  too  great  cred¬ 
ulity  and  too  great  skepticism  are  about  equal.  In  pass¬ 
ing  judgment  on  a  gem  it  may  be  well  to  remember  the 
golden  rule  in  art  criticism— that  the  defendant  should  be 
held  innocent  until  proved  guilty. 

The  Technique  of  Gem  Engraving 

Only  soft  stones  and  metals  can  be  worked  free  hand 
with  cutting  tools;  the  harder  stones  require  the  wheel 
technique.  This  technique  was  known  to  the  Minoans, 
who  learned  it  perhaps  from  the  Babylonians,  by  whom  it 

An  examination  of  our  pseudo-classical  gems  and  the  reasons  assigned 
in  the  descriptions  for  their  modern  date  may  help  the  reader  to  see  what 
obvious  clues  will  generally  guide  such  decisions. 


xlvm 


INTRODUCTION 


was  practised  at  least  as  early  as  1500  B.C.  The  method 
of  work  of  the  ancients  seems  to  have  been  very  similar  to 
that  in  use  today,  to  judge  by  the  references  we  have  to 
this  work  in  classical  literature,1  by  an  examination  of  the 
stones  themselves,2  and  by  the  scanty  evidence  of  actual 
representations  of  gem  engravers.3  By  this  method  the 

'The  most  important  are: 

Pliny,  Natural  History,  XXXVII,  76:  Tantaque  differentia  est,  ut 
aliae  ferro  scalpi  non  possint,  aliae  non  nisi  retuso,  verum  omnes  ada- 
mante.  Plurimum  vero  in  his  terebrarum  proficit  fervor.  “There  is 
such  a  difference  in  the  hardness  of  gems  that  some  cannot  be  engraved 
with  an  iron  tool,  others  only  with  a  blunt  graver,  but  all  may  be  cut  with 
the  diamond.  The  heat  of  the  drill  is  of  great  assistance  in  engraving.” 
By  heat  Pliny  must  of  course  mean  the  rapid  rotation  of  the  drill  (at 
least  if  he  knew  what  he  was  talking  about). 

XXXVII,  15:  Et  adamas  cum  feliciter  rumpere  contigit,  in  tarn  par- 
vas  frangitur  crustas  ut  cerni  vix  possint.  Expetuntur  a  scalptoribus 
ferroque  includuntur,  nullam  non  duritiam  ex  facili  cavantes.  “And 
when  a  diamond  by  good  luck  happens  to  break,  it  separates  into  part¬ 
icles  so  small  that  they  can  hardly  be  seen.  These  are  in  great  request 
among  engravers,  who  set  them  in  iron  and  by  this  means  are  able  to  hol¬ 
low  out  any  hard  surface  with  ease.” 

Theophrastus,  De  lapidibus,  I,  5: — yXoirrol  yd p  ilvto 1,  Kal  Topvtvrol  Kal 
TrpKTTol '  t£>v  8k  0118k  8Xtos  &7rrerai  oidripiov  *  kvlwv  8k  KaKtos  Kal  pSXts . 
“There  are  some  stones  which  can  be  engraved,  others  which  are  worked 
by  the  aid  of  the  drill,  still  others  which  can  be  sawn;  upon  some  a  steel 
tool  makes  no  impression;  upon  others  again  only  slightly  and  with 
great  effort.”  VI 1,  41 :  tv  tot  8k  XIOot  Kal  rds  Totabras  txovat  bvvapttts,  tis 
rd  p. 7)  7ra<7 xtiv>  d)tnrtp  eliropev,  olov,  rd  pjj  yX(><t>ia6ai  ath-qplots,  dXXd  Xldots 
krkpots  yXvtfrovTcu. 

oXcas  ptv  rj  Kara,  ras  tpyaaias  Kal  tu>v  [pu^ovojv]  Xldcjv  ttoXXt)  Statpopa . 
“AXX01  npioToi  yap,  ol  8k  yXvirrol  Kadawep  kXtxdr),  Kal  Topvtvral  Tvyxdvoutn, 
. ol  8k  crtSr) plots  pkv  y Xv<j>ovTai  dpPX'ttyt  8i. 

"There  are  some  stones  which  have  the  property,  as  I  have  said,  of 
resisting  an  iron  graver,  but  may  be  engraved  by  means  of  other  stones. 
And  in  general  there  is  a  great  difference  between  even  the  .  .  . 

stones  in  the  manner  of  working  them,  for  some  may  be  cut  by  the  saw, 
some  engraved  as  has  been  described,  and  some  worked  with  the  drill. 

.  .  .  Some  may  be  engraved  with  an  iron  tool,  but  it  must  be  dull.” 

2  Cf.,  besides  cut  on  p.  liii,  our  Nos.  65-69. 

3Cf.,  e.  g.,  the,gem  figured  in  Middleton,  The  Engraved  Gems  of 
Classical  Times,  p.  105,  fig.  21. 


EIGHTEENTH-CENTURY  ENGRAVER  AT  WORK 
FROM  MARIHTTE,  PIERRES  GRAVEES 


INTRODUCTION 


stones  are  worked  with  variously  shaped  drills  which  are 
made  to  rotate  by  the  help  of  the  wheel.  The  cutting  is 
not  done  by  the  drills,  which  are  of  comparatively  soft 
metal  (they  are  now  of  iron,  not  steel,  and  in  Mycenaean 
times  at  least  must  have  been  of  bronze  or  copper),  but 
by'the  powder  which  is  rubbed  into  the  stone  with  the  drill. 
This  is  nowadays  the  diamond  powder,  mixed  with  oil. 
What  it  was  in  ancient  times  is  not  certain,  as  we  do  not 
know  how  early  the  diamond  became  known.  It  was  cer¬ 
tainly  familiar  to  the  Romans,  as  it  is  mentioned  both  by 
Pliny  (Natural  History,  XXXVII,  xv)  and  by  M.  Man- 
ilius  (Astronomicon,  IV,  926).  The  type  of  wheel  used 
in  our  times  is  either  one  worked  by  the  foot  or  by  an  elec¬ 
tric  motor  lathe.  The  former,  though  more  cumbrous, 
has  the  advantage  of  giving  the  artist  more  direct  control 
over  the  speed.  On  a  gravestone  of  a  gem  cutter  of  the 
Roman  Empire  found  at  Philadelphia  in  Asia  Minor,  a 
tool  is  represented  which  looks  like  the  bow  used  by  mod¬ 
ern  jewelers  (cf.  Furtwangler,  Antike  Gemmen,  III,  p. 
399,  fig.  206).  This,  by  being  drawn  quickly  back  and 
forth,  could  impart  a  rotating  movement  similar  to  that 
of  the  wheel.  But  since  we  know  that  the  wheel  was  well 
known  to  the  ancients,  in  the  making  of  pottery,  for 
instance,  it  is  certainly  probable  that  they  made  use  of 
it  in  gem  engraving  also. 

Nowadays  the  stone  to  be  engraved  is  fastened  to  a 
handle  and  held  to  the  head  of  the  rotating  drill  and  moved 
as  the  work  requires.  It  has  been  suggested  that  the  an¬ 
cients  reversed  the  process  and  held  the  stone  stationary 
while  the  rotating  tools  were  guided  by  the  hand,  as  in 
modern  dentistry.  There  is  no  means  of  settling  this 
point,  which  in  itself  is  unimportant. 

The  shapes  of  the  tools  must  have  been  essentially  the 
same  as  those  in  use  today,  ending  in  balls,  disks,  cylinders, 


INTRODUCTION  H 

etc.,  in  all  sizes  ranging  from  about  a  quarter  of  an  inch  to 
a  pin-point. 

It  is  a  debatable  question  how  much  the  diamond  point 
was  used  in  ancient  times  for  fine  detail  lines.  It  was  ap¬ 
parently  used  hardly  at  all  in  the  earlier  Greek  period, 
but  on  Hellenistic  and  Roman  gems  we  occasionally  find 
fine  lines  with  sharp  edges  which  could  only  have  been 
made  by  such  means.1  The  lines  produced  by  the  help  of 
the  wheel  would  always  have  round  edges.  The  passage  in 
Pliny,  Natural  History,  XXXVII,  lxxvi  (quoted  above) 
which  speaks  of  small  diamond  particles  “ferro  includun- 
tur”  has  been  interpreted  as  referring  to  the  use  of  the 
diamond  point;  but  Pliny’s  account  is  so  general  that  it 
may  refer  simply  to  engraving  with  diamond  powder. 
The  modern  gem  engravers  whom  I  have  consulted  never 
use  the  diamond  point.  Natter  in  his  Traite  de  la  meth- 
ode  antique  de  graver  en  pierres  fines  (1754),  p.  xi,  refers 
to  its  use  for  making  the  preliminary  sketch.  Nowadays 
some  engravers  make  a  model  in  clay  or  wax  before  be¬ 
ginning  the  engraving;  this  may  have  been  done  by  the  an¬ 
cients  also,  but  only  of  course  for  their  more  careful  work. 

The  unfinished  gem2  reproduced  in  the  cut  on  page 
liii,  is  interesting  from  the  technical  point  of  view,  show¬ 
ing  different  stages  in  the  work,  beginning  with  an  out¬ 
line  sketch,  similar  to  that  in  Athenian  vase  paintings, 
and  continuing  through  various  steps  in  the  drilling 
processes.  We  realize  from  it  the  large  amount  of  work 
necessary  to  produce  a  carefully  finished  engraving. 

After  the  cutting  of  the  gem  was  complete  the  surface 
was  often  polished.  In  pre-Hellenic  gems  the  engraving 

1  Furtwangler  in  Antike  Gemmen,  1 1 1,  p.  400,  speaks  of  such  sharp  lines 
as  of  frequent  occurrence  on  later  gems.  My  personal  experience  is  that 
they  are  rare  and  that  most  of  the  finest  lines  appear  to  be  wheel-made. 

2This  gem  is  now  in  the  collection  of  Mr.  Robert  Mond,  Combe  Bank, 
Sevenoaks.  England. 


lii 


INTRODUCTION 


was  either  left  dull  or  the  polish  was  confined  to  the  larger 
surfaces.  Etruscan  scarabs,  on  the  other  hand,  show  a 
high  polish,  even  when  the  work  itself  is  careless.  Begin¬ 
ning  with  the  Hellenistic  period  and  throughout  the 
Graeco-Roman  times  the  more  carefully  worked  gems 
show  a  detailed  and  often  high  polish.  Nowadays  for 
outside  polish  engravers  use  very  fine  diamond  powder 
and  oil  applied  on  a  very  hard  wooden  tool  (generally 
boxwood).  For  the  inside  polish  tripoli  powder  mixed 
with  water  is  used  on  a  copper  tool  or  on  a  stiff  brush  made 
to  rotate  on  the  wheel.  The  ancients  appear  to  have  used 
Naxian  stone  (naxium)  for  this  purpose,  to  judge  from  a 
statement  by  Pliny.1 

We  do  not  know  definitely  whether  the  ancient  gem 
cutters  made  use  of  the  magnifying  glass2  but  it  is  probable 
that  they  did.  The  general  principle  of  concentrating 
rays  was  known  to  Aristophanes,  who  refers  to  the  use  of 
the  burning  glass  to  destroy  the  writing  on  a  waxed  tablet 
(Clouds,  766  ff.).  Pliny  several  times  mentions  the  use 
of  balls  of  glass  or  crystal  brought  in  contact  with  the  rays 
of  the  sun  to  generate  heat  (Natural  History,  XXXVI, 
lxvii,  and  XXXVII,  x),  and  Seneca  speaks  more  speci¬ 
fically  of  this  principle  applied  for  magnifying  objects.3 

^ignis  e  marmore  poliendis  gemmisque  etiam  scalpendis,  atque  li- 
mandis,  naxium  diu  placuit  ante  alia,  “For  polishing  marble  statues  and 
for  engraving  and  polishing  gems,  Naxian  stone  was  long  preferred  to 
other  kinds”  (Natural  History,  XXXVI,  x).  It  is  hardly  possible  that 
this  Naxian  limestone  could  have  been  hard  enough  for  engraving  stones, 
so  that  Pliny’s  "scalpendis”  cannot  be  taken  literally. 

2Cf.  Bliimner,  Technologie  und  Terminologie,  III,  p.  298. 

3Dixi  modo  fieri  specula,  quae  multiplicent  omne  corpus  quod  imitan- 
tur.  Illud  adiciam,  omnia  per  aquam  videntibus  Ionge  est  maiora: 
litterae  quamvis  minutae  et  obscurae  per  vitriam  pilam  aqua  plenam 
maiores  clarioresque  cernuntur.  “I  just  now  remarked  that  mirrors 
are  made  which  multiply  any  body  which  they  reflect;  I  may  add  that  all 
objects  appear  much  larger  if  seen  through  water;  letters,  however  minute 


INTRODUCTION 


liii 


It  would  certainly  be  difficult  to  believe  that  the  ancients 
could  execute  the  minute  work  they  did  without  lenses, 
and  that  their  only  help  was  to  look,  as  Pliny  describes, 
at  green  emeralds  when  they  were  tired.1  It  should 
be  remembered,  however,  that  even  nowadays  when  strong 
lenses  are  easily  available,  gem  engravers  do  not  always 
use  them.2 

The  technique  of  cameos  is  in  all  respects  similar 


FOUR-SIDED  STONE  WITH  UNFINISHED  ENGRAVINGS 
FROM  FURTWANGLER,  ANTIKE  GEMMEN,  III,  p.  4OO 


to  that  of  intaglios  so  that  the  same  remarks  apply  to 
both. 

The  manifold  difficulties  of  gem  engraving  are  well  set 
forth  by  Natter,  the  famous  eighteenth-century  engraver 
(op.  cit.,  pp.  x,  xi): 

“  Certainly  it  [the  art  of  gem  engraving]  is  the  most  pain- 

and  indistinct,  appear  larger  and  may  be  clearly  seen  through  a  glass  ball 
full  of  water”  (Naturales  Quaestiones,  I,  vi,  5). 

1  Pliny,  Natural  History,  XXXVI 1,  xvi:  Soli  (smaragdi)  gemmarum 
contuitu  oculos  implent,  nec  satiant.  Quin  et  ab  intentione  alia  obscurata, 
aspectu  smaragdi  recreatur  acies.  Scalpentibusque  gemmas  non  alia 
gratior  oculorum  refectio  est:  ita  viridi  lenitate  lassitudinem  mulcent. 
“(The  emerald)  alone  of  gems  pleases  the  eye  without  tiring  it.  More 
than  that,  when  the  eye  is  wearied  by  intense  application,  it  is  refreshed 
by  the  sight  of  an  emerald.  There  is  for  instance  no  better  relief  for  gem 
engravers,  whose  weary  eyes  are  soothed  by  its  soft  green.” 

2 Mr.  O.  Negri  tells  me  that  though  he  does  so  now,  he  did  not  in  his 
youth. 


liv 


INTRODUCTION 


ful  and  discouraging  of  all  others:  For  besides  the  Knowl¬ 
edge  of  Drawing,  which  is  as  necessary  to  an  Engraver  in 
Stone  as  to  a  Statuary  or  Painter;  he  is  obliged,  when  he 
does  whole  Figures  or  Histories,  to  regulate  his  Design, 
or  Composition,  according  to  the  Method  of  Engraving; 
he  must  avoid,  for  example,  Perspective,  which  is  of  so 
much  Advantage  to  a  Painter,  and  the  shortening  of  the 
Parts  of  a  Body;  but  must  always  strive  to  give  his  Fig¬ 
ures  a  light  and  easy  Position.  .  .  .  Another  Diffi¬ 

culty  attending  this  Art  is,  that  the  Engravings  are  com¬ 
monly  done  on  such  small  Stones  .  .  .  that  it  is 

scarce  possible  to  draw  the  just  Proportions  with  the 
Diamond-point,  which  greatly  fatigues  the  Sight;  nor  can 
they  be  cut  afterwards  without  excellent  Eyes,  and  a 
very  good  Light.  Farther,  you  cannot  have  the  Assis¬ 
tance  of  another  to  forward  your  Work;  and  the  least  Mis¬ 
take  in  executing  the  Design,  is  very  difficult,  if  not  im¬ 
possible,  to  be  amended.  You  must  also  form  your  Idea 
of  the  Design  for  the  Reverse  of  the  Engraving,  and  en¬ 
grave  deep  what  is  to  appear  in  high  Relief.  Add  to  this, 
that  the  Stone  is  liable  to  be  spoilt  by  many  Accidents. 
All  these  Reasons  discourage  People  from  cultivating  an 
Art  that  requires  so  much  Precaution  and  Labour;  and 
which  is  at  the  same  Time  without  Protection  of  the  Rich 
and  Great.” 

Materials  Used  for  Ancient  Gems 
We  do  not  propose  either  to  discuss  the  extensive  an¬ 
cient  literature1  on  the  subject  of  stones  used  as  gems  in 
antiquity,  or  to  analyze  the  stones  from  a  modern  miner- 

1Cf.  especially  Theophrastus,  De  lapidibus  (372-289  B.  C.);  Pliny  the 
Elder,  Natural  History,  books  IX,  XXXIII,  XXXVI  (23-79  A.  D.); 
C.  Julius  Solinus,  Polyhistor  (III  century  A.  D.);  Isidorus,  Etymologia 
(died  about  636  A.  D.). 


INTRODUCTION 


Iv 


alogical  standpoint.1  Most  of  the  stones  mentioned  by 
the  classical  writers  were  not  employed  for  engraving  and 
do  not  concern  us  here.  The  following  list  comprises  the 
stones  used  for  cameo  and  intaglio  work  during  the  class¬ 
ical  periods,  with  their  current  modern  names  and  also, 
where  possible,  the  probable  ancient  names.2 

The  favorite  materials  employed  by  the  Greeks  and  Ro¬ 
mans  for  their  gems  were  at  all  times  the  colored  quartzes. 
These  had  the  advantage  of  being  easily  worked  on  the 
wheel  and  still  being  hard  enough  for  general  use;  moreover, 
they  came  in  beautiful  colors  and  could  be  finely  polished. 
Especially  popular  were  the  chalcedonies  or  non-crystalliz¬ 
ing  quartzes.  Besides  the  quartzes,  the  ancients  also  used 
harder,  more  precious  stones,  as  well  as  a  few  inferior 
varieties  and  glass  pastes. 

Chalcedonies  or  Non-Crystallizing  Quartzes. 

Carnelian,  of  reddish  color,  shading  from  very  dark 
red  to  golden  yellow.  It  is  sometimes  beautifully  clear 
and  translucent,  at  other  times  dull.  The  whitish  ap¬ 
pearance  of  some  ancient  specimens  is  due  to  contact  with 
great  heat. 

Sard,  of  light  yellowish  brown  or  dark  brown  color.  It 
is  sometimes  difficult  to  distinguish  the  sard  from  the 
carnelian  and  some  authorities  use  the  two  terms  inter¬ 
changeably.  Ancient  writers  refer  to  both  varieties  by 
the  names  ahpbiov,  sardius,  sardd.  The  carnelian  and  sard 
are  the  commonest  stones  in  ancient  glyptic  art.  They 

1  For  an  excellent  list  of  modern  names  with  definitions  cf.  Gems  and 
Precious  Stones  in  1917  by  Waldemar  T.  Schaller,  in  Mineral  Resources 
of  the  United  States,  1917,  Part  11,  pp.  145-168. 

2  In  this  list  1  have  followed  chiefly  Furtwangler  in  his  Antike  Gemmen, 
III,  pp.  383  ft.  I  have  also  had  the  benefit  of  a  revision  of  the  list  by 
Mr.  H.  P.  Whitlock,  Curator  of  Mineralogy  in  the  American  Museum  of 
Natural  History. 


Ivi 


INTRODUCTION 


were  used  in  all  periods  and  were  particularly  popular  in 
Etruscan  and  Italic  gems  and  throughout  the  Roman 
period. 

Chalcedony,  of  pale,  smoky,  milky  white,  yellowish, 
or  bluish-gray  color.  It  is  generally  only  semi-translucent, 
and  sometimes  is  besprinkled  with  other  substances.  Chal¬ 
cedony  was  used  as  early  as  Minoan  times  and  became  the 
chief  material  used  for  the  lonic-Greek  gems  of  the  fifth 
and  fourth  centuries.  Its  ancient  name  appears  to  have 
been  ’iaa-Kts,  iaspis. 

Plasma,  translucent,  and  of  greenish  color.  It  often 
contains  flaws  throughout  its  substance.  It  occurs  in  the 
archaic  Greek  period  and  is  popular  in  the  Hellenistic  and 
Graeco-Roman  epochs.  It  is  probably  identical  with  the 
green  iaspis  or  iaa ms  6  vwoxXupos,  of  which  a  special  va¬ 
riety  appears  to  have  been  the  prasius. 

Jasper.  The  stones  we  call  jasper  are  all  opaque  and  of 
vivid  colors.  There  are  a  number  of  varieties,  such  as 
black,  red,  green,  and  yellow  jasper.  They  are  often 
besprinkled  with  different  colored  spots  and  stains.  A 
variety  of  green  jasper,  transparent  around  the  edges  and 
besprinkled  with  red  spots,  is  called  heliotrope. 

Green  jasper  was  commonly  used  for  the  Phoenician 
and  Carthaginian  gems,  while  it  is  almost  unknown  among 
the  Greeks,  Etruscans,  and  early  Romans.  It  appears 
again  in  the  later  Roman  period.  It  is  possible  that  our 
green  jasper  was  also  comprised  in  the  ancient  iaspis. 

The  use  of  heliotrope  is  confined  to  late  Roman  times. 
It  is  apparently  identical  with  the  ancient  heliotropium. 

Red  jasper  occurs  in  the  Minoan  epoch,  but  is  then 
generally  not  pure  red  but  besprinkled  with  white  sub¬ 
stances.  The  pure  red  jasper  is  common  in  the  Augustan 
epoch,  and  even  more  in  the  later  periods.  Perhaps  a 
variety  of  the  ancient  haematitis. 


INTRODUCTION  Wli 

Yellow  jasper  occurs  only  in  the  late  Roman  period. 
Its  ancient  name  is  not  known. 

Agate.  Agate  is  a  variegated  quartz  which  is  formed 
by  being  deposited  in  various  layers,  often  with  inclusions. 
These  layers  are  either  similar  to  or  quite  different  from 
each  other  both  in  color  and  transparency.  The  colors 
consist  of  all  those  in  which  quartzes  occur;  that  is,  milky 
white,  grayish,  bluish,  yellowish,  brownish,  or  a  deeper 
yellow,  brown,  or  red.  According  to  the  appearance  of 
the  layers  different  terms  are  applied.  When  the  stone 
has  greenish  mosslike  or  treelike  inclusions,  the  term 
moss  agate  is  used.  When  the  stone  is  cut  trans¬ 
versely  and  the  layers  are  more  or  less  level  so  that  they 
appear  in  bands,  the  stone  is  called  banded  agate; 
when  the  layers  present  irregular  outlines,  the  name  agate 
is  applied.  When  the  stone  is  cut  horizontally  so  that  the 
layers  are  superimposed,  it  is  called  either  onyx  or  sard¬ 
onyx.  When  one  of  these  layers  is  of  sard,  the  stone  is 
called  sardonyx;  otherwise  the  term  onyx  is  applied.1 
The  name  nicolo  is  given  to  a  special  variety  of  two¬ 
layered  onyx  in  which  the  lower  layer  is  usually  of  black 
jasper,  sometimes  of  a  dark  sard,  and  the  upper  very  thin 
and  of  a  bluish-white  color. 

These  several  varieties  of  agate  occur  as  follows:  the 
transversely  cut  agates  were  very  popular  in  the  Minoan 
period.  They  also  occur  frequently  in  the  archaic  period 
and  during  the  fifth  and  fourth  centuries  both  in  Greece 
and  Etruria.  After  that  they  disappear.  The  sardonyx 
and  onyx  were  used  by  the  Greeks  from  the  earliest  times. 
With  the  Etruscans  they  were  likewise  popular,  especially 

1  In  some  catalogues  the  name  onyx  is  given  to  two-layered  stones,  and 
sardonyx  to  those  of  more  than  two  layers,  irrespective  of  their  quality- 
I  follow  here  the  terminology  adopted  by  Story-Maskelyne  in  his  cata¬ 
logue  of  the  Marlborough  gems. 


lviii 


INTRODUCTION 


in  the  later  periods.  In  the  early  Roman  gems  of  Etrus- 
canizing  style  they  are  very  common.  Sardonyx  is  the 
chief  material  used  for  cameos  in  the  Hellenistic  and  Ro¬ 
man  epochs.  The  nicolo  began  to  be  used  in  the  first 
century  B.  C.  and  lasted  throughout  the  Roman  period. 

The  ancient  names  for  these  agates  appear  to  have  been 
dxarjjs,  achates,  for  the  general  class.  "0w£  signified  ap¬ 
parently  first  what  we  call  alabaster,  but  was  later  also 
used  for  onyx  and  sardonyx.  The  ancient  name  for  nicolo 
was  probably  aegyptella. 

Crystallizing  Quartzes. 

Rock  Crystal  (the  ancient  KpvcrraWos,  crystallum)  is 
transparent  and  colorless.  It  is  used  not  infrequently 
in  Minoan  and  classical  Greek  times.  In  Italy  it  does 
not  appear  until  the  first  century  B.  C.,  being  unknown  in 
Etruscan  and  early  Roman  art. 

Amethyst  is  of  beautiful  violet  color  and  transparency. 
The  color  is  generally  not  distributed  evenly  on  the  same 
stone,  some  parts  being  lighter,  others  darker.  The 
amethyst  was  used  in  Greek  glyptic  art  from  Minoan 
times.  In  the  Italic  gems  it  is  almost  unknown;  but  it  oc¬ 
curs  frequently  in  Hellenistic  and  Graeco-Roman  times. 
The  paler  variety  of  the  amethyst  is  perhaps  identical 
with  the  ancient  vcuavOos,  hyacinthus. 

Harder,  More  Precious  Stones. 

Garnet.  Among  the  harder,  more  precious  stones  the 
garnets  are  the  most  important.  There  are  a  number  of 
varieties  which  can  be  distinguished  by  their  colors. 
All  are  transparent. 

The  pure  red  stones  which  show  no  admixture  of  violet 
or  orange  hues  are  called  pyrope  or  syriam1  garnets. 

1CalIed  after  the  town  of  Syriam,  the  capital  of  Pegu,  in  Burma. 


INTRODUCTION  lix 

A  number  of  excellent  examples  are  preserved  from  Hel¬ 
lenic  and  Graeco-Roman  times. 

The  garnets  which  show  orange  or  brown  tints  are 
commonly  called  hyacinthine  garnets,  which  closely 
resemble  the  true  hyacinth  or  zircon,  except  that  they  are 
less  brilliant.  They  were  very  popular  in  the  Hellenistic 
period. 

The  garnets  with  a  violet  hue  are  called  almandine 
garnets.  They  were  common  in  the  Hellenistic  and 
Graeco-Roman  times,  especially  in  the  East. 

Garnets  are  often  cut  with  a  strongly  convex  surface 
(, en  cabochon),  which  increases  the  beauty  of  their  coloring. 
When  so  cut  they  are  often  referred  to  as  carbuncles. 
The  ancient  name  for  the  garnet  is  av9pa£,  carbunculus . 

Among  the  beryls  must  be  mentioned: 

Emerald,  of  a  deep  green  transparent  color.  The  stone 
occurs  from  the  archaic  Greek  period,  but  is  never  common. 
It  is  mentioned  by  ancient  writers  under  the  name  of 
apapaydos  and  smaragdus  as  a  favorite  stone,  but  seems 
to  have  been  used  chiefly  unengraved. 

Aquamarine  (firipvXXos,  beryllus),  another  variety  of 
beryl,  is  of  greenish  or  bluish  color,  and  highly  trans¬ 
parent.  It  occurs  from  the  Hellenistic  period  and  was 
especially  popular  in  the  Augustan  epoch. 

Other  hard  stones  used  in  classical  times  are: 

Topaz.  Yellow  and  transparent.  It  occurs  occa¬ 
sionally  in  the  Hellenistic  and  Roman  periods.  It  is  diffi¬ 
cult  to  distinguish  this  stone  from  yellowish  beryl.  Some 
authorities  identify  the  topaz  with  the  ancient  ro-n-apiov, 
roira^ov,  rowapos,  topa^on,  others  with  xpvcr6Xi0os,  chryso- 
lithus. 

Peridot  or  Chrysolite,  of  a  yellowish-green  color, 
sometimes  translucent,  sometimes  semi-transparent.  It 
occurs  only  rarely.  Like  the  preceding,  variously  iden- 


lx 


INTRODUCTION 


tified  as  the  ancient  rorrdftou,  topa^on,  and  xpwbXidos, 

chrysolithus. 

Moonstone,  of  milky  color,  and  translucent.  It  is 
rare  and  when  it  occurs  is  generally  engraved  on  the  convex 
side.  The  ancient  name  is  unknown. 

Sapphire,  of  blue  color  and  transparent.  It  is  the 
hardest  stone  used  in  classical  glyptic  art.1  It  is  rare  and 
only  occurs  in  the  Graeco-Roman  period.  The  ancient 
name  is  not  known;  it  is  not  aairpecpos,  sapphirus. 

Lapis  Lazuli,  of  deep  blue  color,  opaque,  often  with 
brilliant  particles  of  pyrite.  It  occurs  only  rarely,  mostly 
for  poorer  gems  of  the  late  Roman  period,  though  it  was 
worked  as  early  as  the  fifth  and  fourth  centuries  B.  C. 
It  was  very  commonly  used  in  the  Renaissance.  Probably 
identical  with  the  Greek  Kvavos  and  crcurpeipos  and  with  the 
Latin  cyanus  and  sapphirus. 

Turquoise,  of  opaque  greenish  blue,  or  sky-blue  color. 
It  does  not  occur  in  ancient  intaglios,  but  was  occasionally 
used  for  cameos  and  for  works  in  the  round  in  the  Augus¬ 
tan  period.  It  may  be  identical  with  the  ancient  callais, 
callaina. 

Malachite  (moloch ite s) ,  of  green  color  and  opaque. 
It  was  very  rarely  used. 


Inferior  Varieties. 

Hematite,  of  a  color  ranging  between  dark  steel-gray 
and  brownish  red,  and  opaque.  It  is  one  of  the  chief  ma¬ 
terials  used  for  the  Oriental  cylinders.  It  occurs  occa¬ 
sionally  in  the  Minoan  and  archaic  Greek  arts;  but  it  was 
subsequently  discontinued,  except  for  occasional  use, 
until  the  late  Roman  period,  when  it  again  became  popu¬ 
lar.  It  is  probably  identical  with  the  ancient  alpaTirris, 

JThe  ruby  is  not  known  to  have  been  used  by  ancient  engravers. 


INTRODUCTION  Ixi 

haematites  (of  which  the  red  jasper  was  reckoned  as  a  spe¬ 
cial  variety). 

Steatite  ( steatitis ),  or  soapstone,  occurs  in  several  dif¬ 
ferent  colors,  such  as  white,  gray,  yellowish,  brownish, 
blackish,  greenish,  and  reddish.  It  is  opaque,  though 
sometimes  slightly  translucent  at  the  edges.  Being  soft, 
it  was  commonly  employed  in  the  early  periods  of  Greek 
art  when  the  wheel  was  not  used;  but  was  subsequently 
only  rarely  used. 

Serpentine.  Generally  green,  but  also  of  other  colors; 
opaque.  It  was  popular  only  in  Minoan  times.  Identi¬ 
fied  by  some  with  Pliny’s  ophites. 

Porphyry,  a  variegated,  white  and  red  rock,  opaque. 
Used  only  in  Minoan  times,  and  afterwards  by  the  Gnos¬ 
tics. 

Glass  Pastes  (uaXos,  vitrum),  of  many  and  various 
colors,  were  used  throughout  antiquity  as  cheap  substitutes 
for  precious  stones.  They  were  employed  by  those  who 
could  not  afford  the  more  expensive  stones,  and  were  ap¬ 
parently  often  sold  as  stones  by  fraudulent  dealers.1 
They  were  mostly  cast  in  moulds  made  from  engraved 
stones,  occasionally  with  subsequent  retouching. 

rCf.  Pliny,  Natural  History,  XXXVII,  26. 


BIBLIOGRAPHY 

For  a  list  of  sixteenth-  to  eighteenth-century  publica¬ 
tions  of  gem  collections  cf.  King,  Antique  Gems  and  Rings, 

1,  pp.  462  ff.,  and  Furtwangler,  Antike  Gemmen,  III,  pp. 

402  ff.;  the  latter  has  a  critical  estimate  of  each  work. 

Among  the  large  number  of  these  only  the  following  need 

here  be  listed. 

Bartolozzi,  F.  Gems  from  the  Antique.  One  Hundred 
and  Eight  Plates  of  Antique  Gems  engraved  by  Fran¬ 
cesco  Bartolozzi. 

Caylus,  A.  C.  P.  Recueil  d’antiquites  egyptiennes, 
etrusques,  grecques  et  romaines,  I -VI I.  Paris,  1759- 
1767. 

Lippert,  P.  D.  Die  Daktyliothek.  Leipzig,  1767;  sup¬ 
plement  1776. 

Mariette,  P.  J.  Traite  des  pierres  gravees,  I— 1 1.  Paris, 
1750. 

Marlborough  Collection.  Gemmarum  antiquarum  delec¬ 
tus.  Choix  de  pierres  antiques  gravees  du  cabinet  du 
due  de  Marlborough.  London,  1845. 

Orleans  Collection.  Description  des  principals  pierres 
gravees  du  cabinet  du  due  d’Orleans,  I— 1 1 .  1780- 

1784. 


Ixiii 


lxiV  BIBLIOGRAPHY 

Passed,  J .  B.  Novus  thesaurus  gemmarum  veterum  ex  in- 
signioribus  dactyliothecis  selectarum  cum  explicatio- 
nibus,  sumptibus  Venantii  Monaldini  bibliopolae. 
Rome,  1781-1788. 

Prendeville,  J.  Photographic  Facsimiles  of  the  Antique 
Gems  formerly  possessed  by  the  late  Prince  Ponia- 
towski,  1— 1 1.  London,  1857-1859. 

Stosch,  P.  de.  Gemmae  antiquae  caelatae.  Pierres 
antiques  gravees  sur  lesquelles  les  graveurs  ont  mis 
leurs  noms.  Amsterdam,  1724. 

The  following  is  a  selection  of  the  more  recent  books  on 

the  subject  of  gems. 

GENERAL  WORKS 

Babelon,  E.,  in  Daremberg  et  Saglio,  Dictionnaire  des 
antiquites  grecques  et  romaines,  under  Gemmae,  pp. 
1460-1488. 

Blumner,  H.  Technologie  und  Terminologie  der  Ge- 
werbe  und  Kiinste  bei  Griechen  und  Romern,  111, 
pp.  279-323.  Leipzig,  1884. 

Brunn,  H.  Geschichte  der  griechischen  Kunstler,  II, 
pp.  441-637.  Stuttgart,  1859. 

Fowler,  H.  N.,  and  Wheeler,  J.  R.  A  Handbook  of  Greek 
Archaeology,  Chapter  VII.  New  York,  1909. 

Furtwangler,  A.  Die  antiken  Gemmen.  Geschichte 
der  Steinschneidekunst  im  klassischen  Altertum, 
I— 1 1 1 .  Leipzig,  1900. 

- Studien  uber  die  Gemmen  und  Kiinstlerinschriften, 

in  Jahrbuch  des  deutschen  archaologischen  Instituts, 
III,  pp.  105-139,  and  IV,  pp.  46-87.  Berlin,  1 888— 
1889. 

lmhoof-Blumer  und  Keller,  O.  Tier-  und  Pflanzenbilder 
auf  Miinzen  und  Gemmen  des  klassischen  Altertums. 
Leipzig,  1889. 


BIBLIOGRAPHY  lxv 

King,  C.  W.  Antique  Gems  and  Rings,  I— 1 1 .  London, 
1872. 

- — - — Antique  Gems;  their  origin,  uses,  and  value.  London, 

1 866. 

— — Handbook  of  Engraved  Gems.  Second  edition. 
London,  1885. 

— — The  Natural  History,  Ancient  and  Modern,  of  Pre¬ 
cious  Stones  and  Gems  and  of  Precious  Metals. 
London, 1865. 

Middleton,  J.  H.  The  Engraved  Gems  of  Classical  Times, 
with  a  Catalogue  of  the  Gems  in  the  Fitzwilliam 
Museum.  Cambridge,  1891. 

Murray,  A.  S.,  and  Smith,  A.  H.,  in  Encyclopaedia  Brit- 
annica,  Eleventh  edition,  XI  (1910),  under  Gems, 
pp.  562-569. 

Osborne,  D.  Engraved  Gems:  Signets,  Talismans  and 
Ornamental  Intaglios,  Ancient  and  Modern.  New 
York,  1912. 

Saglio,  E.,  in  Daremberg  et  Saglio,  Dictionnaire  des  an- 
tiquites  grecques  et  romaines,  under  Anulus,  pp.  293- 
296. 


CATALOGUES  OF  MUSEUM  AND  PRIVATE 
COLLECTIONS 

MUSEUMS 


Austria 

Vienna 

Arneth,  J.  C.  Die  antiken  Cameen  des  k.  k. 
Miinz-  und  Antiken-  Cabinetes.  Vienna, 
1849. 

Sacken,  E.  von,  und  Kenner,  F.  Die  Samm- 
lungen  des  k.  k.  Miinz-  und  Antiken-Cabi- 
netes.  Vienna,  1866. 


BIBLIOGRAPHY 


lxvi 

Denmark 

Copenhagen 

Muller,  L.  Description  des  intailles  et  camees 
antiques  du  Musee  Thorwaldsen.  1847 


England 

Cambridge 

Middleton,  J.  H.  Descriptive  Catalogue  of  the 
Engraved  Gems  in  the  Fitzwilliam  Museum 
(Leake  Collection).  Cambridge,  1891,  as 
appendix  to  The  Engraved  Gems  of  Classical 
Times. 

- The  Lewis  Collection  of  Gems  and  Rings 

in  the  Possession  of  Corpus  Christi  College. 
Cambridge,  1892. 

London 

Dalton,  O.  M.  Catalogue  of  Finger  Rings, 
Early  Christian,  Byzantine,  Teutonic,  Med¬ 
iaeval,  and  later,  in  the  British  Museum. 
London,  1912. 

- Catalogue  of  the  Engraved  Gems  of  the 

Post-Classical  Peyods  in  the  British  Mu¬ 
seum.  London, 1915. 

Marshall,  F.  H.  Catalogue  of  the  Finger  Rings, 
Greek,  Etruscan,  and  Roman  in  the  British 
Museum.  London,  1907. 

Murray,  A.  S.,  and  Smith,  A.  H.  Catalogue  of 
Engraved  Gems  in  the  British  Museum. 
London,  1888. 

Windsor 

Fortnum,  C.  D.  E.  Notes  on  Some  of  the  An¬ 
tique  and  Renaissance  Gems  and  J  ewels  in  Her 
Majesty’s  Collection  at  Windsor  Castle,  in 
Archaeologia,  X  LV,  pp.  1  -28.  London,  1 877. 


BIBLIOGRAPHY 


lxvii 


France 

Paris 

Babelon,  E.  Catalogue  des  camees  antiques 
et  modernes  de  la  Bibliotheque  nationale. 
Paris,  1897. 

Chabouillet,  A.  Catalogue  general  et  raisonne 
des  camees  et  pierres  gravees  de  la  Biblio¬ 
theque  imperiale.  Paris,  1861. 


Germany 

Berlin 

Furtwangler,  A.  Beschreibung  der  geschnit- 
tenen  Steine  im  Antiquarium.  Berlin,  1896. 


Russia 

Petrograd 

The  gem  collection  in  the  Hermitage  Museum 
as  such  is  not  catalogued;  it  is  made  up 
partly  of  gems  found  in  South  Russia,  pub¬ 
lished  from  time  to  time  by  Stephani  in 
Comptes  Rendus  de  la  Commission  imperi¬ 
ale  archeologique,  1860-1893,  and  in  Anti- 
quites  du  Bosphore  cimmerien,  I.,  St.  Peters¬ 
burg,  1854;  partly  of  the  famous  Orleans 
Collection,  published  in  1780-1784,  under 
the  title:  Description  des  principales  pierres 
gravees  du  cabinet  du  due  d’Orleans,  I— 1 1 ; 
the  rest  is  unpublished. 


Switzerland 

Geneva 

Fol,  W.  Catalogue  du  Musee  Fol;  II.  Anti- 
quites:  glyptique  et  verrerie.  Geneva,  1875. 


Ixviii 


BIBLIOGRAPHY 


United  States 
Boston 

Museum  of  Fine  Arts.  No  catalogue  is  yet  pub¬ 
lished  but  descriptions  of  a  number  of  the 
gems  have  appeared  in  the  Annual  Reports. 

New  York 

Myres,  J.  L.  Handbook  of  the  Cesnola  Collec¬ 
tion  of  Antiquities  from  Cyprus,  pp.  405  ff. 
New  York,  1914. 

Descriptive  Atlas  of  the  Cesnola  Collection  of 
Cypriote  Antiquities  in  the  Metropolitan 
Museum  of  Art,  I— 1 1 1.  New  York  and 
Boston,  1885-1903. 

Froehner,  W.  Collection  Julien  Greau.  Verrerie 
antique.  Paris,  1903. 

PRIVATE  COLLECTIONS 

Beazley,  J.  D.  The  Lewes  House  Collection  of  Ancient 
Gems.  In  course  of  preparation. 

Reinach,  S.  Pierres  gravees  des  collections  Marlborough 
et  d’Orleans.  Paris,  1895. 

Ridder,  A.  de.  Collection  de  Clercq:  Catalogue,  VII,  2. 
partie,  Les  Pierres  gravees.  Paris,  1911. 

Story-Maskelyne,  M.  H.  N.  The  Marlborough  Gems. 
London,  1870. 


TECHNIQUE 

Babelon,  E.  La  gravure  en  pierres  fines,  pp.  22  ff. 
Paris,  1894. 

Bliimner,  H.  Technologie  und  Terminologie  der  Gewerbe 
und  Kunste  bei  Griechen  und  Romern,  III,  pp.  279- 
323.  Leipzig,  1884. 

Furtwiingler,  A.  Die  antiken  Gemmen,  III,  pp.  397  ff- 


BIBLIOGRAPHY  lxix 

King,  C.  W.  Antique  Gems  and  Rings,  I.  London, 
1872. 

Mariette,  P.  J.  Traite  de  pierres  gravees,  I.  Paris, 
1750- 

Natter,  L.  Traite  de  la  methode  antique  de  graver  en 
pierres  fines,  comparee  avec  la  methode  moderne. 
London,  1761. 

Soldi,  E.  A.  Les  arts  meconnus,  chapter  I.  Third  edi¬ 
tion.  Paris,  1881. 

- Les  cylindres  babyloniens,  leur  usage  et  leur  classi¬ 
fication,  in  Revue  archeologique,  N.  S.  XXVIII 
(1874),  p.  147  f. 


COLLECTIONS  OF  GEMS 

The  most  important  collections  of  ancient  gems  are  in 

the  following  places: 

Austria 

Vienna 

Imperial  Museum 

Denmark 

Copenhagen 

Thorwaldsen  Museum 

England 

Cambridge 

Corpus  Christi  College 

Fitzwilliam  Museum 
Lewes 

Warren  Collection 
London 

British  Museum 
Oxford 

Ashmolean  Museum 
Windsor 

Royal  Collection 


lxx 


COLLECTIONS  OF 


GEMS 


Ixxi 


France 

Paris 

Bibliotheque  nationale 

De  Clercq  Collection 

Germany 

Berlin 

Antiquarium 

Dresden 

Albertinum 

Leipzig 

Stadtbibliothek 

Munich 

Antiquarium 

Karlsruhe 

United  Grand  Ducal  Collections 

Holland 

The  Hague 

Royal  Library 
Leyden 

Museum  van  Oudheden 


Italy 

Florence 

Museo  Archeologico 
Naples 

National  Museum 
Rome 

Vatican  Library 

Russia 

Petrograd 

Hermitage 


lxxii  COLLECTIONS  OF  GEMS 

Switzerland 
Geneva 
Musee  Fol 

United  States 
Boston 

Museum  of  Fine  Arts 
New  York 

The  Metropolitan  Museum  of  Art 

As  can  be  seen  in  the  preceding  bibliography,  only  a 
few  of  these  collections  have  been  properly  catalogued,  so 
that  the  majority  of  extant  ancient  gems  would  be  prac¬ 
tically  unknown  to  the  larger  public  of  today,  were  it  not 
for  Furtwangler’s  work,  Die  antiken  Gemmen.  In  this, 
about  thirty-six  hundred  selected  gems  from  various  prov¬ 
enances  and  collections  are  illustrated  and  described. 


ABBREVIATIONS 

The  following  abbreviations  of  publications  are  used  in  the  text 

of  the  Catalogue: 

A.  J.  A.  =  American  Journal  of  Archaeology. 

Arch.  Jour.  =  Archaeological  Journal. 

B.  S.  A.  =  Annual  of  the  British  School  at  Athens. 

I.  G.  =  Inscriptiones  Graecae. 

Cohen,  Monnaies  romaines  =  Cohen,  H.,  Description  historique 
des  monnaies  frappees  sous  l’empire  romain. 

Compte-rendu  =  Compte-rendu  de  la  Commission  imperiale 
archeologique. 

Dalton,  Post-Classical  Gems  =  Dalton,  O.  M.,  Catalogue  of  the 
Engraved  Gems  of  the  Post-Classical  Periods  in  the  British 
Museum. 

Daremberg  &  Saglio,  Dictionnaire  =  Daremberg,  C.,  Saglio,  E., 
&  Pottier,  E.,  Dictionnaire  des  antiquites  grecques  et  ro- 
maines. 

Froehner,  Greau  Collection  =  Froehner,  C.  E.  L.  W.,  Collection 
Julien  Greau,  appartenant  a  J.  P.  Morgan. 

Furtwangler,  A.  G.  =  Furtwangler,  A.,  Die  antiken  Gemmen; 
Geschichte  der  Steinschneidekunst  im  klassischen  Altertum. 

Furtwangler,  Berl.  Kat.  =  Furtwangler,  A.,  Beschreibung  der 
geschnittenen  Steine  im  Antiquarium. 

Furtwangler,  Jahrbuch  =  Jahrbuch  des  deutschen  archaolo- 
gischen  Instituts. 

J.  H.  S.  =  Journal  of  Hellenic  Studies. 

lxxiii 


lxxiv 


ABBREVIATIONS 


Myres,  Handbook  =  Myres,  J.  L.,  Handbook  of  the  Cesnola 
Collection  of  Antiquities  from  Cyprus. 

Natter,  Traite  =  Natter,  L.,  Traite  de  la  methode  antique  de 
graver  en  pierres  fines,  comparee  avec  la  methode  moderne. 
Roscher’s  Lexicon  =  Roscher,  W.  H.,  Lexicon  der  griechischen 
und  romischen  Mythologie. 


CATALOGUE 


CATALOGUE 


MINOAN  PERIOD 

THE  art  of  engraving  stones  probably  originated  in 
Babylonia.  There  it  attained  a  high  degree  of  proficiency 
as  early  as  the  fourth  millennium  B.  C.,  and  was  contin¬ 
ued  for  a  long  period  of  years  with  splendid  results  both 
from  the  technical  and  the  artistic  point  of  view.  The 
engravings  were  made  chiefly  on  stones  of  cylindrical  shape, 
which  were  used  as  seals.  The  other  Oriental  countries 
naturally  profited  by  the  knowledge  of  the  Babylonians, 
and  we  find  the  Hittites,  the  Assyrians,  the  Syrians,  and 
other  peoples  of  Asia  Minor  all  conversant  with  this  art; 
side  by  side  with  the  cylinders,  seals  of  various  other  shapes, 
chiefly  conical  and  domed,  were  then  in  common  use. 

The  Egyptians  early  adopted  the  art  of  engraving,  em¬ 
ploying  first  the  cylinder  form,  then,  from  about  the  ninth 
dynasty  on,  the  scarab  and  kindred  shapes;  as  subjects 
for  their  engravings  they  used  chiefly  symbols,  script,  and 
ornaments;  only  occasionally  pictorial  scenes.  Though 
historically,  therefore,  these  scarabs  are  of  great  impor¬ 
tance — especially  as  they  have  been  found  in  great  num¬ 
bers  and  form  a  continuous  series— the  artistic  value  is 
frequently  secondary.  The  great  majority  lack  the  in¬ 
terest  of  subject  treatment,  though  the  finish  of  their  ex¬ 
ecution  is  often  remarkable. 

With  the  Minoans,  the  art  reached  a  high  standard. 


5 


6  CATALOGUE  OF  ENGRAVED  GEMS 

Though  in  the  third  millennium  they  only  cut  rude  pic- 
tographic  signs  by  hand  on  soft  stones,  in  the  second  mil¬ 
lennium  a  great  development  took  place.  This  was  partly 
due  to  the  generally  high  standard  of  Minoan  civilization 
at  that  epoch,  but  also  to  the  fact  that  technically  Minoan 
engravers  received  a  new  impetus  by  learning  from  the 
Orient  to  Work  with  the  help  of  the  wheel.  They  were 
thus  enabled  to  cut  hard  stones,  such  as  different  forms 
of  agate,  carnelian,  chalcedony,  jasper,  amethyst,  rock 


MINOAN  STONE  FORMS 
LENTOID  AND  GLANDULAR 


crystal,  etc.,  the  knowledge  of  which  probably  came  from 
Egypt.  But  though  the  Minoan  artist  was  glad  to  learn 
from  other  countries  what  he  could,  it  was  not  in  his  na¬ 
ture  to  stop  there.  His  strong  independence  and  inven¬ 
tiveness  everywhere  asserted  itself.  He  evolved  new 
shapes  for  his  stones,  using  chiefly  round  (lentoid)  and 
elongated  (glandular)  forms  with  convex  sides — sometimes 
with  three  instead  of  two  faces — but  also  rectangular, 
conical,  domed,  and  other  types;  he  used  his  seals  not 
merely  for  writing,  but  chose  for  representation  the  same 
subjects  with  which  he  decorated  his  other  belongings, 
namely,  animals,  cult  and  sacrificial  subjects,  deities  and 
demons,  hunting  and  war  scenes;  and  above  all  he  imbued 
these  representations  with  the  same  impetuous  originality, 
with  that  interest  in  movement  and  life,  which  are  so 
characteristic  of  all  his  works. 


MINOAN  PERIOD 


7 


The  stones,  which  are  always  perforated,  were  commonly 
worn  strung  on  cords  around  the  neck  or  the  wrist;  plain 
stones  would  thus  be  strung  with  engraved  specimens, 
the  latter  being  of  course  the  more  valuable.  That  such 
engraved  stones  were  used  by  the  Minoans  not  only  for 
ornaments  but  also  for  sealing  has  been  definitely  proved 
by  discoveries  at  Zakro  and  elsewhere  of  impressed  clay 
sealings  (cf.  D.  G.  Hogarth,  J.  H.  S.,  XXII  (1902),  pp.  76 
ff.  [from  Zakro];  F.  Halbherr,  Monumenti  antichi,  XIII 
(1903),  cols.  30  ff.  [from  Hagia  Triada];  A.  J.  Evans, 
B.  S.  A.,  VII  (1900-1901),  pp.  28  ff.  [from  Knossos]). 

Besides  stones  the  Minoans  used  gold  rings  for  their 
engravings.  These  have  large  oval  bezels,  slightly  convex 
and  generally  set  transversely  on  slender  hoops. 

Our  collection  includes  nine  stones  but  no  rings.1  Eight 
stones  belong  to  the  fully  developed  style  of  about  1500 
B.  C.  (Late  Minoan  I— 1 1),  and  one  to  the  decadent  pe¬ 
riod  of  about  1300  B.  C.  (Late  Minoan  III).  They  are 
all  engraved  with  animal  scenes  and  the  earlier  ones  are 
treated  with  the  charming  naturalism  of  Minoan  art. 
All  the  stones  are  perforated  and  have  convex  sides. 

Late  Minoan  I-II,  about  1600-1350  b.  c. 

1  Agate,  lentoid.  Bull  lying  down;  flowering  plant 
in  the  field. 

Animals  are  among  the  most  frequent  representations 
on  Minoan  sealstones.  It  is  natural  that  among  these  the 
bull,  the  popular  animal  of  Crete,  should  play  an  import¬ 
ant  part.  Besides  this  stone,  four  others  of  our  collection 
(Nos.  2-5)  show  engravings  of  bulls  and  cows.  These  are 

1  Electrotype  reproductions  of  the  more  important  rings  found  at  My¬ 
cenae  are  exhibited  in  the  Classical  Wing,  First  Room,  Case  S;  see  also 
the  plaster  impressions  of  stones  and  sealings  from  Crete  and  Mycenae 
in  Case  D  in  the  same  room. 


8  CATALOGUE  OF  ENGRAVED  GEMS 

treated  in  a  purely  naturalistic  manner,  without  any  ap¬ 
parent  reference  to  a  religious  or  sacrificial  meaning.  They 
are,  in  fact,  like  beautiful  thumb-nail  sketches  made  direct 
from  life  in  the  Minoan  fields.  The  introduction  here 
and  there  of  flowers  and  foliage  to  indicate  the  landscape 
is  characteristic  of  Cretan  love  of  nature.  To  a  people 
used,  as  the  Cretans  had  been  for  many  centuries,  to  a 
pictographic  form  of  writing,  a  single  flower  or  leafy 
branch  would  suggest  a  whole  landscape  without  difficulty. 

i  in.  x  lfa  in.  (25.4  mm.  x  27.38  mm.);  *Th.  %  in.  (13. 1  mm.). 
Purchased,  1911.  From  the  Collection  of  Sir  Arthur  J.  Evans. 
Said  to  have  been  found  near  Arta  in  1896.  Described,  Museum 
Bulletin,  1912,  p.  98.  A  small  piece  is  broken  off  at  the  back 
and  reattached.  Acc.  No.  11.196.2. 

2  Agate,  lentoid.  Cow  lying  down;  foliage  in  the 
field. 

%  in.  x  ijf2  in.  (25  mm.  x  26.19  mm.);  Th.  %  in.  (10.71  mm.). 
Purchased,  1914.  Described,  Museum  Bulletin,  1915,  p.  212. 
Cracked  at  top.  Acc.  No.  14.104.2. 

3  Onyx,  lentoid.  Two  bulls  lying  side  by  side,  one 
with  the  head  in  profile,  the  other  full  front;  crocus  in  the 
field.  Fine,  careful  work. 

%  in.  x  in.  (21.43  mm.  x  22.22  mm.);  Th.  %  in.  (9.52  mm.). 
Purchased,  1907.  Described,  Museum  Bulletin,  1907,  p.  122, 
No.  1.  Slightly  cracked  in  places.  Acc.  No.  07.286.129. 

4  Carnelian,  glandular.  Cow  suckling  her  calf; 
flower  in  the  field. 

The  subject  is  a  favorite  one  in  Minoan  art,  the  finest 
representation  being  the  faience  group  found  with  the 
Snake  Goddess  at  Knossos  (cf.  B.  S.  A.,  IX,  pp.  71  ff. 
and  pi.  iii.  It  became  popular  also  in  classical  Greek  art, 
especially  on  coins  (cf.  e.  g.  Babelon,  Traite  des  monnaies 


lTh.  =  thickness. 


MINOAN  PERIOD  9 

grecques  et  romaines,  pi.  cxcvi,  4,  1 1 ,  15).  Compare 
also  the  gem  No.  12  in  this  collection. 

%  in.  x  %  in.  (19.45  mm.  x  1 5.48  mm.);  Th.  %  in.  (7.94  mm.). 
Purchased,  1914.  Described,  Museum  Bulletin,  1915,  p.  212. 
Acc.  No.  14. 104.4. 

5  Banded  Agate,  rectangular.  Two  cows  lying 
side  by  side,  one  of  them  looking  back.  The  work  is  a 
little  more  cursory  than  on  the  preceding  examples. 

%  in.  x  %  in.  (12.3  mm.  x  17.46  mm.):  Th.  \  in.  (6.35  mm.). 
Purchased,  1911.  From  the  collection  of  Sir  Arthur  J.  Evans. 
Described,  Museum  Bulletin,  1912,  p.  98.  Acc.  No.  11.195.1. 

6  Red  Jasper,  glandular.  Hunted  ibex  and  dog. 
The  line  above  the  ibex  probably  represents  a  spear  thrown 
by  the  hunter. 

Hunting  wild  animals  such  as  the  lion,  the  bull,  the  boar, 
and  the  ibex  was  apparently  a  favorite  sport  of  the  Min- 
oans,  and  we  have  representations  of  them  on  frescoes 
(cf.  Schliemann,  Tiryns,  pp.  303  ff. ;  Tiryns,  vol.  II,  pis. 
xiii  and  xviii),  gold  cups  (cf.  Schuchhardt,  Schliemann’s 
Excavations,  Appendix  II,  pp.  350  ff.),  and  engraved 
rings  or  stones  (cf.  Furtwangler,  A.  G.,  pi.  ii,  8,  11  ff.). 
On  a  small  gem  only  an  excerpt  from  a  hunting  scene  could 
be  effectively  given,  and  this  example  shows  the  skill 
with  which  the  Minoan  engraver  succeeded  in  this  task. 

%  in.  x  1%  in.  (16.27  mm.  x  25.8  mm.);  Th.  %  in.  (7.94  mm.). 
Purchased,  1914.  Described,  Museum  Bulletin,  1915,  p.  212. 
Acc.  No.  14. 104.3. 

7  Agate,  Ientoid.  Two  ibexes  heraldically  grouped 
with  a  column  in  the  center.  In  the  field  are  two  columns. 

The  heraldic  grouping  of  two  animals  or  monsters  is  a 
popular  design  in  Minoan  art.  The  best  known  is  the 
Lion  Relief  on  the  gateway  of  Mycenae.  On  our  stone,  as 


IO  CATALOGUE  OF  ENGRAVED  GEMS 

on  that  relief,  the  animals  are  guarding  a  pillar,  which 
may  be  a  sacred  object,  symbolical  of  a  city. 

%  in.  x  in.  (19.84  mm.  x  20.64  mm.);  Th.  2%  in.  (9.92 
mm.).  Purchased,  1907.  Unpublished.  Convex  on  both 
sides.  Acc.  No.  07.286.123. 

8  Chalcedony,  lentoid.  Ram  walking  to  left;  the 
field  above  is  decorated  with  a  fish-bone  pattern. 

%  in.  x  %  in.  (1 5.48  mm.  x  1 5.48  mm.);  Th.  %  in.  (8.33  mm.). 
Gift  of  A.  Sambon,  1912.  Unpublished.  Convex  on  both 
sides.  Cracked  on  one  side.  Acc.  No.  12.2 14. 

Late  Minoan  Ill,  about  1350-1100  b.  c. 

9  Agate,  lentoid.  Griffin.  The  execution  of  the  de¬ 
sign  shows  the  deterioration  of  the  naturalistic  style  after 
the  Late  Minoan  II  period;  it  has  here  lost  all  its  freshness 
and  become  conventional  and  stereotyped. 

The  griffin,  a  winged  lion  with  the  head  of  an  eagle,  is 
common  in  Minoan  art.  It  probably  came  to  Crete  from 
Egypt,  where  the  same  type  was  prevalent  (cf.  Furtwang- 
ler  in  Roscher’s  Lexikon,  under  Gryps,  col.  1745). 

\%  in.  x  in.  (26.59  mm.  x  27.38  mm.);  Th.  %  in.  (12.3 
mm.).  Purchased,  1914.  Described,  Museum  Bulletin,  1915, 
p.  212.  Convex  on  both  sides.  Acc.  No.  14.104. 1. 


Plate  2 

NO.  3 


Two  Bulls 


agate 


GEOMETRIC  PERIOD 

ABOUT  I  IOO-7OO  B.  C. 

The  brilliant  period  of  Minoan  civilization  with  its  high 
artistic  standards  was  followed  by  several  centuries  of 
change  and  unrest  brought  about  by  invasions  from  the 
North.  The  northern  peoples  who  swept  over  the  Greek 
world  were  a  hardy,  warlike  race,  with  few  pretensions  to 
culture,  and  the  art  of  this  period  is  accordingly  crude  and 
primitive.  The  most  noteworthy  specimens  of  it  which 
have  been  preserved  are  the  geometric  pottery  and  bronzes 
(cf.,  e.  g.,  material  in  the  Second  Room  of  the  Classical 
Wing,  J).  The  gems  of  the  period  reflect  the  same  degen¬ 
eration.  There  is  no  longer  any  interest  in  observing  na¬ 
ture,  and  instead,  a  linear,  geometric  style  is  adopted. 
The  technique  likewise  deteriorates.  The  engraving  of 
hard  stones  by  the  help  of  the  wheel  is  discontinued,  and 
soft  stones  are  again  worked  by  hand,  as  in  primitive,  early 
Minoan  times.  The  shapes  are  apparently  borrowed  di¬ 
rectly  from  Syria  and  consist  of  conical,  domed,  four-sided, 
or  rounded  beads,  perforated  lengthwise,  as  well  as  cylin¬ 
ders.  Both  the  scarab  and  the  scaraboid  forms  now  also 
appear,  the  former  introduced  from  Egypt,  the  latter  per¬ 
haps  a  development  of  the  dome-shaped  bead.1 

*011  this  question  cf.  Furtwangler,  A.  G.,  Ill,  p.  61.  The  general 
belief  has  been  that  the  scaraboid  form  was  a  simplification  of  the  scarab, 
retaining  the  general  shape  without  indicating  the  beetle. 


12  CATALOGUE  OF  ENGRAVED  GEMS 


There  are  as  yet  no  examples  of  geometric  seals  in  our 
classical  section;  but  some  of  the  representations  on  the 
Cypriote-geometric  cylinders  of  the  Cesnola  Collection  will 
give  an  idea  of  the  style  (cf.  Myres,  Handbook,  Nos. 
4333-4357)- 


PERIOD  OF  ORIENTAL  INFLUENCES 

SEVENTH  CENTURY  B.  C. 

In  the  seventh  century  B.  C.  new  influences  began  to 
make  themselves  felt.  Greek  colonists  had  founded  set¬ 
tlements  all  over  Asia  Minor  and  the  West,  and  were  there¬ 
fore  in  direct  contact  with  the  outside  world.  The  mo¬ 
notony  and  barrenness  of  their  own  geometric  art  made 
them  peculiarly  sensitive  to  exterior  influence.  It  is  not 
surprising,  therefore,  that  Oriental  art  gained  great  as¬ 
cendancy  among  the  Greeks  and  eastern  motives  became 
popular.  This  phase  of  G  reek  art  can  again  best  be  studied 
in  the  vases  and  bronzes  of  the  period.  The  gems  are 
not  numerous,  but  they  reflect  the  same  tendencies.  An 
interesting  feature  of  this  period  is  the  revival  of  My¬ 
cenaean  traditions,  as  exemplified,  for  instance,  by  the 
gems  found  in  the  island  of  Melos.  Another  characteris¬ 
tic  is  the  importation  and  imitation  of  Egyptian  scarabs, 
which  must  have  been  both  general  and  wide-spread,  as 
specimens  have  been  found  in  large  numbers  in  many 
localities. 

Technically  the  gems  of  this  period  also  show  a  marked 
advance.  Gradually  the  use  of  hard  stones  worked  by 
the  wheel  was  reintroduced,  and  the  engraver’s  art  was 
greatly  stimulated  thereby. 

Besides  the  scarab  and  the  lentoid  and  round  Mycen- 


13 


14  CATALOGUE  OF  ENGRAVED  GEMS 

aean  forms,  a  number  of  other  shapes  occur;  for  instance, 
the  cylinder,  the  scaraboid,  and  various  dofned  and  conical 
seals. 

io  Chalcedony  Scaraboid.  Lion  attacking  a  bull. 
Careful  work  of  the  seventh  century  B .  C.,  showing  marked 
Oriental  influence. 

For  a  similar  representation  cf.,  e.  g.,  Furtwangler, 
A.  G.,  pis.  vii,  25,  and  lxi,  9;  and  Imhoof-Blumer  und 
Keller,  Tier-  und  Pflanzenbilder,  pi.  xix,  33. 


%  in.  x  44  in.  ( 1 1 .9 1  mm.  x  17.46  mm.);  Th.  %  in.  (3.57  mm.). 
King  Collection,  No.  286.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  liii,  1;  illustrated  in  King,  Ant.  Gems, 
p.  156.  The  engraving  is  on  the  convex  side.  Acc.  No.  81.6.1. 

11  Flat  Banded  Agate,  light  brown  and  white, 
mounted  in  a  gold  box  setting  with  a  suspension  bead  at 
one  end.  The  setting  is  decorated  on  the  edge  with  a 
cable  border  and  granulated  work.  The  stone  is  engraved 
with  two  prancing  ibexes  heraldically  grouped,  and  con¬ 
ventional  plants  in  the  field.  The  representation  is 
encircled  by  a  line. 


Plate  4 

NO.  18 


Hermes 


CHALCEDONY 


PERIOD  OF  ORIENTAL  INFLUENCES  15 

For  a  similar  but  freer  composition  of  Minoan  times,  cf., 
e.  g.,  No.  7  in  our  collection.  The  more  formal  style  of  the 
grouping  here  is  in  the  manner  of  the  period;  cf.,  e.  g.,  the 
bronze  relief  in  our  collection  (G.  M.  A.  Richter,  Cat.  of 
Bronzes  in  the  Met.  Mus.  of  Art,  No.  13). 

(As  set)  %  in.  x  %  in.  (19.45  mm.  x  15.48  mm.).  From 
Cyprus.  Cesnola  Collection.  Cf.  Myres,  Handbook,  No.  4172. 
Illustrated,  Cesnola  Atlas,  111,  pi.  xxix,  2,  and  Cyprus,  pis. 
xxvii;  xxxviii,  23.  Acc.  No.  C.  E.  1. 

12  Agate  Scarab,  brown  with  white  markings.  Cow 
suckling  her  calf.  In  the  field  is  a  conventional  tree 
and  an  inscription  in  Cypriote  letters,  probably  a  personal 
name,  Zuodtfus  (zo.vo.te.mi.se). 

The  subject  of  a  cow  suckling  her  calf  was  a  favorite 
one  in  Minoan  times  (cf.,  e.  g.,  No.  4  in  this  collection). 
The  treatment  here  is  reminiscent  of  Minoan  compositions, 
but  is  more  conventionalized.  For  contemporary  repre¬ 
sentations  of  this  subject,  cf.  Furtwangler,  A.  G.,  pi.  vii, 
27  and  35.  The  inscription  is  discussed  by  Myres, 
Handbook,  Appendix,  p.  542,  No.  4193. 

%  in.  x%  in.  (13.49  mm.  x  18.25  mm.);  Th.  2%  in.  (9.92 
mm.).  From  Cyprus.  Cesnola  Collection.  Cf.  Myres,  Hand¬ 
book,  No.  4193,  where  it  is  said  to  have  been  acquired  in  Smyrna. 
Illustrated,  Cesnola  Atlas,  III,  pi.  xxxii,  2,  where  it  is  said  to 
have  come  from  Curium.  Acc.  No.  C.  E.  2. 


ARCHAIC  GREEK  PERIOD 

ABOUT  600-450  B.  C. 

The  sixth  century  B.  C.  marks  the  beginning  of  a  great 
revival  of  art  among  the  Greeks,  which  is  illustrated  in  the 
gems  as  clearly  as  in  the  other  branches  of  Greek  art. 
The  chief  characteristic  of  this  period  is  everywhere  the 
striving  to  represent  the  human  figure  in  all  manner  of 
postures  and  activities.  There  is  throughout  a  freshness 
and  spontaneity  of  spirit,  as  different  from  the  heavy  uni¬ 
formity  of  the  contemporary  Babylonian  and  Assyrian 
art  as  it  is  reminiscent  of  the  older  Mycenaean  products. 
The  home  of  this  new  art  must  be  looked  for  in  Ionia, 
where  Mycenaean  traditions  had  never  been  swept  away 
so  entirely  by  the  Dorian  invaders  as  in  Greece  proper. 
Soon  Ionian  influence  made  itself  felt  also  in  Greece;  and 
the  native  Dorian  element  became  infused  with  new  life. 
The  mingling  of  these  two  contrasting  elements— the 
Ionian  and  the  Dorian — finally  resulted  in  the  splendid 
product  of  Greek  fifth-century  art,  where  the  freedom  of 
the  one  and  the  restraint  of  the  other  are  effectually  com¬ 
bined. 

The  engraved  stones  of  the  sixth  century  are  chiefly  of 
the  scarab  shape,  which  had  long  been  familiar  in  Greek 
lands  from  Egyptian  importations  and  imitations.  In 
Greece  the  scarab  had  of  course  no  religious  significance, 

16 


Plate  5 


L 


ARCHAIC  GREEK  PERIOD  17 

but  was  purely  ornamental.  Besides  the  beetle  we  often 
find  other  forms,  such  as  masks,  negroes’  heads,  Sirens, 
etc.  The  scaraboid  was  also  used,  and,  rarely,  the  old 
lentoid  and  Oriental  cone  forms.  The  scarabs  and  scara- 
boids  are  regularly  set  in  gold  or  silver  swivel  rings,  with 
generally  very  thick  hoops,  many  of  which  were  clearly  not 
intended  to  be  worn  on  the  finger,  but  acted  merely  as 
convenient  handles  for  the  seals.  The  settings  of  the 
stones  are  often  provided  with  swivel  sockets  which  turned 


SCARAB  AND  SCARABOID 


on  the  ends  of  the  hoop  as  on  pivots.  Later  the  settings 
of  the  stones  were  soldered  to  the  hoops,  which  then  be¬ 
came  correspondingly  slighter.  Besides  stones  mounted 
in  rings,  rings  entirely  of  metal  with  engraved  bezels  are 
also  common.  For  the  chief  types  of  archaic  settings  and 
rings  cf.  Marshall,  Cat.  of  Finger  Rings  in  the  Brit.  Mus., 
pp.  xxxviii  ff.,  and  Myres,  Handbook,  pp.  41 1,  414,  416, 
420. 

The  custom  of  sealing  became  general  in  Greece  in  the 
seventh  and  sixth  centuries  B.  C.  It  is  intimately  con¬ 
nected  with  the  introduction  of  coinage  and  the  general 
adoption  of  writing,  both  of  which  can  be  assigned  to  these 
centuries;  for  important  business  contracts  would  natur¬ 
ally  have  to  be  sealed  to  render  them  more  private,  and 
the  coins,  which  bear,  so  to  speak,  the  seal  of  the  state, 
were  the  public  counterparts  of  the  gems  bearing  the  seal 
of  an  individual.  Accordingly  we  find  that  the  represen¬ 
tations  on  coins  and  gems  at  this  period  are  strikingly 
similar. 


l8  CATALOGUE  OF  ENGRAVED  GEMS 

The  subjects  on  the  archaic  gems  are  the  same  that  we 
find  in  other  branches  of  archaic  art.  At  the  beginning 
of  the  period  the  human  figure  in  kneeling  posture  is  the 
most  popular;  but  soon  a  greater  variety  was  attempted. 
The  figures  can  often  be  identified  with  mythological 
personages.  Gods  and  goddesses  are  comparatively  rare, 
but  Herakles  is  a  favorite;  and  various  demons,  the 
Seilenos,  the  Siren,  and  the  Sphinx  are  also  common. 
Among  the  figures  without  mythological  significance, 
warriors,  archers,  athletes,  and  horsemen  are  the  most 
popular,  and  among  the  animals  the  favorites  are  the  lion, 
the  bull,  the  boar,  the  deer,  the  ram,  the  cock,  and  the 
horse. 

In  the  early  archaic  period  the  modeling  is  still  very 
deficient;  but  about  the  year  500  B.  C.  a  great  improve¬ 
ment  took  place.  The  muscles  between  the  breasts  and 
the  navel  are  now  represented  correctly  by  two  swellings 
instead  of  three  or  four,  as  they  had  been  heretofore;  and 
the  other  muscles  which  had  been  more  or  less  neglected 
in  the  early  archaic  period  are  now  carefully  indicated, 
though  still  with  considerable  hardness.  A  great  advance 
is  also  made  in  the  treatment  of  the  folds  of  the  drapery 
and  in  the  representation  of  the  hair.  The  design  is  regu¬ 
larly  but  not  invariably  encircled  by  a  border;  this  consists 
generally  of  a  cable  pattern;  less  frequently,  of  rows  of 
dots,  a  guilloche,  or  a  single  line.  Occasionally  inscrip¬ 
tions  occur  on  the  gems,  giving  either  the  name  of  the 
owner  of  the  seal  or  of  the  artist. 

The  use  of  hard  stones  and  the  wheel  technique  became 
quite  general  in  this  period,  the  commonest  material  being 
the  colored  quartzes,  such  as  carnelian,  chalcedony,  and 
agate;  occasionally  rock  crystal  and  jasper  are  found; 
green  plasma  is  rare;  glass  paste  sometimes  appears  as  a 
substitute  for  stones. 


Plate  6 

NO.  23 


Centaur 


AGATE 


ARCHAIC  GREEK  PERIOD 


19 


13  Carnelian  Scarab,  set  in  a  silver  swivel  ring. 
Two  lions  struggling,  one  lying  on  his  back  with  the  other 
on  top  of  him.  Around  the  representation  is  a  cable  bor¬ 
der.  Early  archaic  style  of  about  550  B.  C. 

For  a  similar  representation,  cf.  Furtwangler,  Berl. 
Kat.,  No.  168.  The  composition  should  be  compared 


14 


with  similar  motives  on  Minoan  stones,  such  as  Furt¬ 
wangler,  A.  G.,  pi.  iii,  32. 

(Asset)  %  in.  x  in.  (13.1  mm.  x  17.86  mm.);  Th.  ^^.(9.52 
mm.).  From  Cyprus.  Cesnola  Collection.  Cf. 

Myres,  Handbook,  No.  4195.  Illustrated, 

Cesnola  Atlas,  III,  pi.  xxvii,  1,  and  Cyprus, 
pi.  xxxviii,  21.  The  silver  of  the  ring  is 
corroded.  Acc.  No.  C.  E.  3. 

14  Gold  Ring,  with  rounded  hoop 
and  double  bezel  in  the  form  of  two 
ovals.  In  the  upper  oval  two  lions,  in  the  lower  two 
sphinxes,  are  grouped  heraldically.  Around  the  repre¬ 
sentations  is  a  cable  border.  The  design  is  lightly  en¬ 
graved  in  the  conventional  but  spirited  style  of  Ionian 
work  of  the  early  archaic  period. 

Compare  for  general  treatment  Furtwangler,  A.  G., 
pi.  vii,  10. 

lD  of  hoop,  %  in.  (2 1 .03  mm.) ;  L.  of  bezel,  %  in.  ( 1 3 .08  mm.) ; 

'D.  =  diameter;  L.  =  Iength;  Wt.  =  weight. 


20  CATALOGUE  OF  ENGRAVED  GEMS 


Wt.  1 5714  grains  (10.206  grammes).  From  Cyprus.  Cesnola 
Collection.  Cf.  Myres,  Handbook,  No.  4056.  Illustrated, Cesnola 
Atlas,  111,  pi.  xxx, 1,  and  Cyprus,  pi.  xxxiv,  2.  Acc.  No.  C.  E. 4. 


15  Gold  Ring,  with  rounded  hoop,  tapering  upwards, 
and  pointed  oval  bezel,  slightly  convex.  On  the  bezel 
is  a  design,  in  relief,  of  a  seated  Sphinx,  in  the  early  ar¬ 
chaic  style;  the  edges  of  the  bezel  are  ornamented  with 
a  tongue  pattern. 

For  the  design  compare  Furtwangler,  A.  G.,  pi.  vii,  15. 

D.  of  hoop,  %  in.  (21 .03  mm.) ;  L.  of  bezel,  in.  ( 1 6.27  mm.) ; 
Wt.  74  grains  (4.7952  grammes).  From  Cyprus.  Cesnola 
Collection.  Cf.  Myres,  Handbook,  No.  4061.  Illustrated, 
Cesnola,  Cyprus,  pi.  xxxiv,  5.  The  design  is  partly  obliterated, 
Acc.  No.  C.  E.  5. 


16  Gold  Ring  with  rounded  hoop  and  raised  oval 
bezel.  On  the  latter  is  roughly  engraved  a  man  riding  on 
a  hippalektryon  (a  cock  with  the  forepart  of  a  horse), 
surrounded  by  a  cable  border.  Sixth  century  B.  C. 

This  composite  animal  appears  on  Greek  sixth-  and 
fifth-century  monuments.  It  is  mentioned  by  Aristo¬ 
phanes  as  having  been  borrowed  from  Persia  (cf.  H. 
Lechat,  in  Daremberg  et  Saglio,  Dictionnaire,  under 
Flippalectryon,  pp.  186-187). 

D.  of  hoop,  5%  in.  (2 1 .83  mm.) ;  L.  of  bezel,  %  in.  (8.73  mm.) ; 
Wt.  118  grains  (7.6664  grammes).  Purchased,  1895.  Unpub¬ 
lished.  Acc.  No.  G.  S.  239. 

17  Agate  Scarab  in  a  gold  band  setting,  provided 
with  sockets  and  mounted  in  a  silver  swivel  ring.  The 
stone,  which  is  white  with  brown  markings,  is  engraved 
with  a  hippocamp,  a  fantastic  combination  of  a  winged 
horse  and  a  fish  with  a  tail  ending  in  two  snakes’  heads. 

A  sea-horse  of  various  forms  occurs  frequently  in  Greek 


Plate  7 

NO.  24 


Man  between  Prancing  Horses 


PLASMA 


21 


ARCHAIC  GREEK  PERIOD 

art  of  all  periods,  beginning  with  the  Melian  stones  of  the 
seventh  century  B.  C.  It  probably  owes  its  origin  to  the 
conception  of  waves  as  galloping  horses.  For  an  account 
of  its  history  cf.  Sauer  in  Roscher’s 
Lexikon,  under  Hippokamp,  cols. 

2673  ff. 

(As  set)  l%  in.  x  y2  in.  (10.32  mm.  x 
12.7  mm.);  Th.  %  in.  (6.75  mm.).  From 
Cyprus.  Cesnola  Collection.  Cf.  Myres, 

Handbook,  No.  4194;  illustrated,  Ces¬ 
nola,  Cyprus,  pi.  xl,  18.  The  silver 
ring  is  oxidized.  Acc.  No.  C.  E.  6. 


18  Bluish  Chalcedony  Eight-Sided  Cone,  perfo¬ 
rated  transversely.  Hermes  is  standing  to  left  holding 
the  kerykeion  or  herald’s  staff  in  one  hand  and  a  flower  in 
the  other.  He  is  represented  beardless,  with  long  hair, 
and  completely  draped  with  chiton,  himation,  winged 
shoes,  and  plumed  hat;  by  his  side  is  a  bird.  Careful  Ionic 
Greek  work. 

In  continental  Greek  art  of  the  sixth  century,  for  in¬ 
stance  on  Athenian  vases,  Hermes  is  regu¬ 
larly  bearded  and  generally  wears  a  short 
cloak  (chlamys)  and  a  traveler’s  hat  (cf. 

Chr.  Scherer  in  Roscher’s  Lexikon,  under 
Hermes,  col.  2399).  The  conception  of 
Hermes  shown  here  must  illustrate  the  con¬ 
temporary  Ionic  treatment  of  the  subject, 
and  as  such  is  of  great  interest. 

in.  x  %  in.  (17.06  mm.  x  13. 1  mm.);  Th. 
in.  (25  mm.).  King  Collection,  No.  3.  Published  by  Furt- 
wangler,  A.  G.,  pi.  vi,  49;  King,  Ant.  Gems  and  Rings,  II,  cop¬ 
perplates,  first  group,  IV,  39;  Osborne,  Engraved  Gems,  pi.  v, 
17;  cf.  also  King,  Hdbk.  of  Engraved  Gems,  pp.  3  and  vii. 
A  small  piece  by  the  head  of  the  bird  is  chipped  off,  Acc.  No. 
81.6.3, 


22  CATALOGUE  OF  ENGRAVED  GEMS 


19  Carnelian  Scarab.  A  nude  youth  is  kneeling 
and  washing  his  hair  in  a  basin.  Around  the  representa¬ 
tion  is  a  cable  border.  The  execution  is  rather  cursory, 
but  bold  and  vigorous,  in  the  early  archaic  style. 

Compare  the  similar  representations  on  Etruscan  scar¬ 
abs,  Furtwangler,  A.  G.,  pi.  xvii,  52,  53.  Our  stone  is  of 
rather  earlier  style  and  of  Greek,  not  Etruscan  workman¬ 
ship.  The  beetle  is  carelessly  worked  and 
has  no  decoration  on  the  base. 


%  in.  x  in.  (23.02  mm.  x  16.27  mm.); 
Th.  %  in.  (13. 1  mm.).  Purchased,  1917, 
from  a  dealer  in  Athens.  Unpublished. 
Chipped  in  places.  Acc.  No.  17.49. 


20 


20  Carnelian  Flat  Stone,  in  a  gold 
box  setting,  ornamented  with  spirals  and  mounted  in  a 
gold,  plaited  ring.  On  the  stone  is  engraved  a  youth 
holding  what  may  be  a  knife,  and  seizing  a  crouching  girl 
by  the  hair,  evidently  about  to  strike  her.  Around  the 
representation  is  a  cable  border. 

The  ring  belongs  to  a  type  introduced  in  the  fifth  cen¬ 
tury,  which  is  slighter  than  the  sixth-century  swivel  rings, 
and  has  the  ends  soldered  to  the  sockets  of  the  setting 
instead  of  pivoting  on  them  (cf.  p.  17  and  J.  L.  Myres, 
Handbook,  p.  420).  The  engraving  on  the  stone  is  exe¬ 
cuted,  however,  in  the  early  archaic  style  of  the  sixth 
century  B.  C.  The  muscles  between  the  chest  and  navel 
are,  for  instance,  still  indicated  by  three  or  four  separate 
swellings,  instead  of  two,  as  in  the  later  archaic  and  in  the 
fully  developed  styles. 


(As  set)  %  in.  x  %  in.  (4.36  mm.  x  12.3  mm.).  From 
Cyprus.  Cesnola  Collection.  Cf.  Myres,  Handbook,  No.  4222. 
Illustrated,  Cesnola  Atlas,  Ill,  pi.  xxviii,  13,  and  Cyprus,  pi. 
xl,  9.  The  stone  and  the  gold  setting  are  slightly  chipped  in 
places.  Acc.  No.  C.  E.  7. 


Plate  8 


ARCHAIC  GREEK  PERIOD  23 

21  Gold  Ring  with  rounded  hoop  tapering  upwards 
and  pointed  oval  bezel  attached  as  a  separate  plate.  On 
the  bezel  is  engraved  a  group  of  a  warrior  (Herakles  ?) 
and  a  lion.  The  warrior  is  nude  but  wears  a  helmet;  he 
holds  a  branch  in  one  hand,  and  with  the  other  is  seizing 
the  animal  by  the  neck.  Around  the  representation  is  a 
double  cable  border.  Careful  -but  not  detailed  work  of  the 
archaic  period. 

The  story  of  Herakles  and  the  Nemean  lion  is  so  con¬ 
stantly  represented  in  archaic  times  that  one  is  tempted 
to  interpret  this  design  also  as  such  a  group.  It  is,  how¬ 
ever,  at  variance  with  the  regular  type,  in  that  the  man 
wears  a  helmet  and  carries  a  branch.  Herakles’  usual 
weapons  in  his  contest  with  the  lion  are  the  sword,  the  club, 
and  the  bow  and  arrows  (cf.  Furtwangler  in  Roscher’s 
Lexikon,  under  Herakles,  cols.  2196  ff.);  in  his  fight  with 
the  Centaurs,  however,  he  appears  sometimes  armed  with 
tree  branches  (cf.  Colvin,  J.  H.  S.,  I,  pi.  i).  Two  instances 
of  Herakles  with  a  helmet,  decorated  in  both  cases  with  a 
lion’s  head,  are  the  marble  figures  from  Aegina  and  Delphi 
(cf.  Furtwangler,  Beschreibung  der  Glyptothek,  pp.  113- 
11 5). 

D.  of  hoop,  %  in-  (19.84  mm.);  L.  of  bezel,  %  in.  (14.68  mm.); 
Wt.  42 grains  (2.744  grammes).  From  Cyprus.  Cesnola 
Collection.  Cf.  Myres,  Handbook,  No.  4057.  Illustrated, 
Cesnola,  Cyprus,  pi.  xxxiv,  3.  Acc.  No.  C.  E.  8. 

22  Moss  Agate  Scaraboid,  originally  set  in  a  silver 
swivel  ring,  now  missing.  A  youth  sits  crouching  and  holds 
something  in  his  hand  (the  stone  being  chipped  at  that 
point,  it  is  not  certain  what  this  object  is). 

Rather  cursory  work  of  the  beginning  of  the  fifth  cen¬ 
tury  B.  C. 

%  in.  x  2^4  in.  (15.48  mm.  x  1 1.51  mm.);Th.  %  in.  (5.56  mm.). 
From  Cyprus.  Cesnola  Collection.  Cf.  Myres,  Handbook, 


24  CATALOGUE  OF  ENGRAVED  GEMS 

No.  4201.  Illustrated,  Cesnola  Atlas,  III,  pl.xxxi,  5  and  Cyprus, 
pi.  xxxix,  7.  Published  by  Osborne,  Engraved  Gems,  pi.  viii,  7. 
Chipped  in  places.  A  small  piece  of  the  silver  ring  in  which  the 
stone  was  set  remains  in  the  socket.  Acc.  No.  C.  E.  9. 

23  Flat  Agate  (perhaps  cut  from  a  scarab).  Centaur 
galloping  to  right,  shooting  an  arrow  and  carrying  a 
branch.  In  the  field  five  stars.  Around  the  representa¬ 
tion  is  a  cable  border.  Executed  with  great  spirit  and 
swing,  though  still  with  some  archaic  limitations,  such  as 
in  the  transition  from  the  upper  human  part  to  the  equine 
body. 

For  an  equally  fine  example  of  a  galloping  Centaur  of 
about  this  period  cf.  the  bronze  statuette  in  our  collection, 
Third  Room,  No.  17.190.2070  (illustrated  in  P.  V.  C. 
Baur,  Centaurs,  p.  71,  No.  184). 

The  stars  introduced  in  the  field  must  have  a  definite 
meaning,  so  that  we  can  interpret  this  representation  as 
the  constellation  of  Sagittarius,  or  the  Archer,  the  ninth 
sign  of  the  zodiac,  conceived  by  the  Greeks  as  a  shooting 
Centaur.  The  order  of  the  five  stars  corresponds  approx¬ 
imately  to  that  of  the  principal  stars  in  the  constellation. 

This  is  apparently  the  earliest  extant  (or  at  least  pub¬ 
lished)  representation  of  this  constellation  in  Greek  art, 
though  a  number  of  later  instances  are  known,  such  as  on 
the  famous  Attic  calendar  built  into  the  Old  Cathedral  at 
Athens  (cf.  list  given  by  Roscher  in  Roscher’s  Lexikon, 
under  Kentauren,  col.  1058).  The  Centaur  on  our  stone 
should  also  be  compared  with  the  strikingly  similar  figure 
of  the  Sagittarius  on  a  Babylonian  column  assigned  to 
about  1300  B.  C.  (cf.  Roscher,  loc.  cit.  and  col.  1055,  fig.  7, 
and  A.  Jeremias  in  Roscher’s  Lexikon,  under  Sterne,  col. 
1463).  The  Greeks  derived  their  knowledge  of  astronomy 
from  Babylonia,  so  that  it  is  natural  that  they  borrowed 
also  some  of  the  Babylonian  constellation  figures.  With 


Plate  9 

NO.  29 


Winged  Figure 


CARN  ELIAN 


ARCHAIC  GREEK  PERIOD  25 

the  Greeks  the  shooting  Centaur  was  then  variously  ex¬ 
plained  as  Cheiron,  Pholos,  or  Krotos. 

%  in.  x  in.  (10.32  mm.  x  13. 1  mm.);  Th.  54  in.  (1.98  mm.). 
King  Collection,  No.  136.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  copperplates,  first  group,  III,  25.  The  stone  has  been 
blanched  by  fire.  Acc.  No.  81.6.14. 


24  Plasma  Scaraboid  in  a  gold  band  setting,  on  one 
side  of  which  are  traces  of  a  suspension  ring.  The  stone  is 
engraved  with  a  man  between  two  prancing  horses,  care¬ 
fully  and  delicately  executed  in  the  style  of  the  sixth  cen¬ 
tury. 

For  a  similar  composition  cf.  Furtwangler,  A.  G.,  Ill, 
p.  178,  fig.  123. 

(As  set)  %  in.  x  334  in.  (1 1.91  mm.  x  14.68  mm.);  Th.  %  in. 
(6.75  mm.).  From  Cyprus.  Cesnola  Collection.  Cf.  Myres, 
Handbook,  No.  4173.  Illustrated,  Cesnola  Atlas,  III,  pi.  xxix, 
14,  and  in  Cyprus,  pi.  xxxix,  5.  The  stone  is  cracked  in  two, 
lengthwise,  and  the  color  has  been  changed  by  fire.  Acc.  No. 
C.  E.  10. 


25  Chalcedony  Scaraboid,  originally  set  in  a  swivel 
ring,  now  missing.  A  youth  leaning  on  a  staff  and  playing 
with  a  dog.  The  composition  is  pleasing  but  the  work 
not  very  careful,  in  the  style  of  the  late  archaic  period. 

For  a  similar  stone,  also  from  Cyprus,  cf.  Furtwangler, 
A.  G.,  pi.  ix,  9,  and  Murray-Smith,  Cat.  of  Engraved 
Gems  in  the  Brit.  Mus.,  No.  384. 

%  in.  x  %  in.  (17.46  mm.  x  13.49  mm.);  Th.  %  in.  (7.54  mm.). 
From  Cyprus.  Cesnola  Collection.  Cf.  Myres,  Handbook, 
No.  4200.  Illustrated,  Cesnola  Atlas,  1 1 1,  pi.  xxxi,  8,  and  Cyprus, 
pi.  xxxix,  6.  Also  published  by  Imhoof-Blumer  u.  Keller, 
Tier-  und  Pflanzenbilder,  pi.  xv,  55,  but  there  described  by  mis¬ 
take  as  being  in  the  British  Museum.  Chipped  in  places.  A 
piece  of  the  stone  has  been  broken  off  and  reattached.  Acc. 
No.  C.  E.  11. 


26  CATALOGUE  OF  ENGRAVED  GEMS 


26  Black  Jasper  Scaraboid,  in  gold  box  setting  or¬ 
namented  with  spirals  and  mounted  in  a  gold  swivel  ring. 
On  the  stone  is  engraved  the  forepart  of  a  Pegasos.  Late 
archaic  style  of  the  fifth  century  B.  C.  Though  the  wing 
is  rather  cursorily  cut,  the  head  is  worked  with  great 


delicacy. 


Compare  similar  representations  on 
contemporary  Corinthian  coins,  e.  g.,  in 
Head,  Cat.  of  Coins  in  the  Brit.  Mus., 
Corinth,  pi.  ii,  12,  13. 

(As  set)  %  in.  x  %  in.  (5.16  mm.  x  7.14 
mm.);  Th.  Hi  in.  (5.56  mm.).  Purchased, 
1895.  Unpublished.  Acc.  No.  G.  S.  220. 


27  Carnelian  Scarab  in  a  gold  band  setting  orna¬ 
mented  with  spirals  in  filigree  and  mounted  in  a  gold  ring 
of  the  same  type  as  No.  20  but  with  rounded  hoop.  On 
the  stone  is  engraved  a  youth  leaning  on  a  staff  and  stoop¬ 
ing  apparently  to  touch  his  raised  heel  with  his  hand. 
Cursory  work  of  the  later  archaic  period. 

(As  set)  %  in.  x  2%  in.  (13.1  mm.  x  10.71  mm.);  Th.  J4  in. 
(6.35  mm.).  From  Cyprus.  Cesnola  Collection.  Cf.  Myres, 
Handbook,  No.  4221.  Illustrated,  Cesnola  Atlas,  III,  pi.  xxix, 
13,  and  Cyprus,  pi.  xl,  11.  The  band  setting  is  chipped  in 
places.  Acc.  No.  C.  E.  12. 

28  White  Steatite  Scaraboid  in  a  gold  box  setting 
ornamented  with  spirals  and  mounted  in  a  gold  swivel 
ring.  On  the  stone  is  engraved  a  nude  girl  standing 
before  a  basin,  washing  her  hair.  Around  the  representa¬ 
tion  is  a  cable  border.  Late  archaic  style,  of  the  first 
half  of  the  fifth  century  B.  C.  For  the  subject  cf.  No.  19. 

(As  set)  %  in.  x  %  in.  (10.71  mm.  x  8.33  mm.);  Th.  He  in. 
(4.76  mm.).  From  Cyprus.  Cesnola  Collection.  Cf.  Myres, 
Handbook,  No.  4225.  Illustrated,  Cesnola,  Cyprus,  pi.  xl,  12. 
Acc.  No.  C.  E.  13. 


Plate  io 

NO.  31 


Eros  Carrying  a  Girl 


CARNELIAN 


ARCHAIC  GREEK  PERIOD 


27 


29  Carnelian  Scaraboid,  in  a  gold  box  setting,  or¬ 
namented  with  spirals  and  mounted  in  a  gold  ring  of  the 
same  type  as  No.  26.  On  the  stone  is  engraved  a  winged 
female  figure  holding  a  flower  in  the  characteristic,  dainty 
posture  of  archaic  art;  behind  rises  a  snake.  The  execu¬ 
tion  is  careful,  the  rendering  of  the  delicate  folds  of  the 
drapery  being  specially  successful.  The  stone  cannot  well 
be  later  than  the  beginning  of  the  fifth  century. 

(As  set)  %  in.  x  %  in.  (16.67  mm. 
x  10.71  mm.).  From  Cyprus.  Cesnola 
Collection.  Cf.  Myres,  Handbook,  No. 

4220.  Illustrated,  Cesnola  Atlas,  III,  pi. 
xxviii,  15,  and  in  Cyprus,  pi.  xxxix,  3. 

Acc.  No.  C.  E.  14. 

30  Gold  Ring  with  rounded  hoop, 
tapering  upwards,  and  pointed  oval  bezel,  slightly  con¬ 
vex.  On  the  bezel  is  lightly  engraved  a  group  of  a  man 
and  woman  conversing;  she  appears  to  hold  a  flower  (?)  in 
one  hand.  Around  the  representation  is  a  cable  border. 
Attractive,  but  not  detailed  work  of  the  early  fifth  cen¬ 
tury  B.  C. 

D.  of  hoop,  %  in.  (20.24  mm.);  L.  of  bezel,  %  in.  (15.87  mm.); 
Wt.  65  grains  (4.212  grammes).  From  Cyprus.  Cesnola  Col¬ 
lection.  Cf.  Myres,  Handbook,  No.  4058.  Illustrated,  Ces¬ 
nola,  Cyprus,  pi.  xxxiv,  4.  Acc.  No.  C.  E.  15. 


31  Carnelian  Scaraboid  in  a  gold  band  setting 
mounted  in  a  gold  swivel  ring.  Eros  flying  and  carrying 
in  his  arms  a  struggling  girl,  who  holds  a  lyre  in  one  hand. 
This  is  one  of  the  finest  gems  known  of  the  late  archaic 
period  of  the  early  fifth  century.  The  beautiful,  detailed 
modeling,  the  swing  of  the  composition,  and  the  fine  space 
filling  show  what  height  Greek  gem  engravers  sometimes 
reached  in  their  art. 


28  CATALOGUE  OF  ENGRAVED  GEMS 


The  group  used  to  be  interpreted  as  Boreas  carrying  off 
the  nymph  Oreithyia;  but  a  beardless  Boreas  would  be  an 


innovation  in  archaic  Greek  art,  while  the  type  of  winged 
youth  corresponds  with  contemporary 
representations  of  Eros  (cf.  e.  g.  Furt¬ 
wangler,  A.  G.,  pi.  x,  io,  pi.  lxi,  30). 
Furtwangler  is  therefore  doubtless  right 
in  identifying  the  subject  as  Eros 
carrying  off  a  girl  to  her  lover  (A.  G., 
text  to  pi.  ix,  22). 

(As  set)  %  in.  x  %  in.  (14.29  mm.  x 
19.05  mm.);  Th.  %  in.  (9.13  mm.).  From 
Cyprus.  Cesnola  Collection.  Cf.  Myres,  Handbook,  No. 
4223.  Illustrated,  Cesnola  Atlas,  III,  pi.  xxviii,  8,  and  Cyprus, 
pi.  xxxix,  1.  Published  by  Furtwangler,  A.  G.,  pi.  ix,  22; 
Osborne,  Engraved  Gems,  pi.  v,  21.  The  swivel  sockets  are 

missing,  and  the  band  setting 
has  been  repaired  on  one  side. 
Acc.  No.  C.  E.  16. 


32  Chalcedony  Scara- 
boid  set  in  a  heavy  silver 
swivel  ring.  Hades  seizing 
Persephone,  who  lets  fall  a 
torch.  Hades  is  bearded  and 
wears  a  long  chiton  and  a 
himation  over  his  shoulders; 
Persephone  wears  a  long, 
sleeved  chiton  and  a  cap. 
Fine,  careful  work  in  the  style  of  the  transitional  period, 


about  460  B.  C. 

For  representations  of  the  rape  of  Persephone  in  Greek 
and  Roman  art,  cf.  Overbeck,  Kunstmythologie,  Atlas,  pi. 
17,  18,  and  3,  Miinztafel,  9,  8-13.  In  most  of  these, 
Hades’  chariot  is  present.  The  representation  most 
closely  related  to  ours  is  on  a  red-figured  kylix,  Overbeck, 


Hades  and  Persephone 


CHALCEDONY 


ARCHAIC  GREEK  PERIOD 


29 

op.  cit.  pi.  xviii,  12a.  The  torch  in  our  scene  identifies  the 
girl  as  Persephone. 

(As  set)  %  in.  x  %  in.  (18.65  mm.  x  14.29  mm.);  Th.  %  in. 
(7.14  mm.).  From  Cyprus.  Cesnola  Collection.  Cf.  Myres, 
Handbook,  No.  4199.  Illustrated,  Cesnola  Atlas,  III,  pi.  xxvii, 
9,  and  Cyprus,  pi.  xxxix,  2.  Published  by  Furtwangler.  A.  G., 
pi.  ix,  32;  Osborne,  Engraved  Gems,  pi.  vii,  16.  Acc.  No.  C.  E. 
17- 

33  Carnelian  Scaraboid  in  a  gold  ornamented  band 
setting,  mounted  in  a  gold  ring  of  the  same  type  as  No. 
26.  On  the  stone  is  engraved  Herakles,  wielding  the  club 
in  one  hand  and  holding  the  bow  in  the  other;  he  is  nude 
and  bearded,  and  carries  the  lion’s  skin  over  his  arm. 
Around  the  representation  is  a  cable  border.  Good  execu¬ 
tion  in  the  style  of  the  first  half  of  the  fifth  century  B.  C. 

This  type  of  Herakles  with  club,  bow,  and  lion’s  skin  is 
common  in  Greek  art  of  the  archaic  and  later  periods  (cf. 
Furtwangler  in  Roscher’s  Lexikon,  Herakles,  col.  2141 
and  passim).  It  occurs  on  coins  from  Citium  in  Cyprus 
of  about  the  same  period  as  this  gem  (cf.  G.  F.  Hill,  Cat. 
of  Coins  in  the  Brit.  Mus.,  Cyprus,  pi.  iv,  1 7  ff.).  The  type 
became  specially  common  in  Central  Italy  where  a  large 
number  of  bronze  statuettes  in  this  general  attitude,  be¬ 
longing  to  various  periods,  have  been  found  (cf.,  e.  g., 
G.  M.  A.  Richter,  Cat.  of  Bronzes  in  the  Met.  Mus.  of 
Art,  Nos.  153  ff.). 

(As  set)  %  in.  x %  in.  (18.65  mm.  x  11.51  mm.);  Th.  %  in. 
(7.14  mm.).  From  Cyprus.  Cesnola  Collection.  Cf.  Myres, 
Handbook,  No.  4224.  Illustrated,  Cesnola  Atlas,  III,  pi.  xxviii, 
14,  and  Cyprus,  pi.  xli,  29.  The  stone  is  chipped  in  places  and 
so  is  the  band  setting.  Acc.  No.  C.  E.  18. 


34  Gold  Ring  with  rounded  hoop  tapering  upwards 
and  pointed  oval  bezel,  slightly  convex.  On  the  bezel 


30  CATALOGUE  OF  ENGRAVED  GEMS 


is  a  design  of  two  palmettes  in  relief.  Sixth  to  fifth  cen¬ 
tury  B.  C. 

D.  of  hoop,  2%  in.  (19.84  mm.);  L.  of  bezel,  y2  in.  (12.7  mm.); 
Wt.  483^  grains  (3.1428  grammes).  From  Cyprus.  Cesnola 
Collection.  Cf.  Myres,  Handbook,  No.  4062.  Illustrated,  Ces¬ 
nola  Atlas,  Ill,  pi.  xxx,  21.  The  surface  of  the  design  is  some¬ 
what  rubbed.  Acc.  No.  C.  E.  19. 


Plate  12 
no.  33 


Herakles 


CARNELIAN 


ETRUSCAN  GEMS 

ABOUT  52O-45O  B.  C. 

In  the  seventh  century  B.  C.,  Greek  art  had  had  little 
to  give  and  had  therefore  been  peculiarly  sensitive  to  out¬ 
side  influence.  By  the  sixth  century  B.  C.  the  situation 
was  very  different.  Greek  art  had  now  become  a  growing, 
vital  force,  and  instead  of  accepting  from  others  it  influ¬ 
enced,  in  its  turn,  the  arts  of  foreign  nations.  No  native 
people  was  more  eagerly  ready  to  learn  from  the  Greeks 
than  the  Etruscans.  It  is  a  curious  phenomenon  that  here 
confronts  us,  the  Etruscans,  a  people  of  alien  race,  ardently 
copying  the  Greek  style,  the  Greek  subjects,  and  the  Greek 
technique,  while  their  Indo-European  neighbors  in  Italy 
remained  unaffected  by  Greek  ideas.  But  though  the 
Etruscans  showed  keen  appreciation,  they  had  little 
originality,  and  never  developed  a  great  independent  style 
of  their  own. 

The  gems  are  certainly  among  the  most  successful  of 
all  Etruscan  artistic  products.  They  make  their  appear¬ 
ance  towards  the  end  of  the  sixth  century  B.  C.  and 
throughout  the  archaic  and  transitional  periods  closely 
copy  the  stylistic  advances  made  by  the  Greeks.  At 
times  their  execution  is  of  great  excellence,  but  there  is 
always  a  certain  dryness  and  stiffness  which  serve  to  dis¬ 
tinguish  even  their  best  products  from  pure  Greek  work. 


31 


32  CATALOGUE  OF  ENGRAVED  GEMS 

The  shape  adopted  is  invariably  that  of  the  scarab, 
which  served  not  merely  as  a  seal  but  as  an  ornament, 
for  instance,  on  earrings  or  necklaces.  In  accordance  with 
the  Etruscan  love  for  decorative  work,  the  beetle  is  ex¬ 
ecuted  on  the  better  examples  with  minute  care,  while  to 
the  Greek  artist  it  was  of  secondary  interest.  Moreover, 
the  edge  of  the  base  on  which  the  beetle  stands,  which  in 
the  Greek  examples  is  left  plain,  is  ornamented  in  the 
Etruscan  ones,  except  in  the  earliest  period  and  in  the 
more  careless  specimens.  Occasionally  we  find  a  plastic 
figure  substituted  for  the  beetle  form.  By  far  the  com¬ 
monest  material  of  the  Etruscan  scarabs  is  the  carnelian. 
Various  forms  of  agate  are  also  popular.  A  gray  chalce¬ 
dony,  plasma,  and  glass  paste  occur  occasionally. 

The  subjects  chosen  to  decorate  these  stones  are  chiefly 
taken  from  Greek  mythology.  The  Homeric  and  Theban 
legends  furnished  most  of  the  heroes,  special  favorites 
being  Peleus,  Achilles,  Odysseus,  Ajax,  Tydeus,  and 
Kapaneus.  Deities  and  winged  figures  are  not  uncommon, 
especially  in  the  earlier  examples.  There  are  also  repre¬ 
sentations  taken  from  every-day  life,  and  occasionally 
Etruscan  elements  are  introduced;  but  on  the  whole  the 
Etruscan  artist  characteristically  preferred  to  depict  the 
legends  of  distant  Greece  rather  than  take  his  themes  from 
his  own  surroundings. 

As  in  the  archaic  Greek  examples,  the  whole  field  of  the 
stone  is  occupied  by  the  engraving.  This  consists  either 
of  a  single  figure,  generally  in  a  bent  or  crouching  attitude, 
or  of  a  number  of  figures.  A  border  consisting  of  oblique 
lines  or  dots,  or  occasionally  of  other  patterns,  regularly 
encircles  the  scene.  Inscriptions  sometimes  occur;  but  they 
do  not,  as  in  the  Greek  gems,  give  the  name  of  the  owner 
or  of  the  artist,  but  of  the  figure  represented— a  custom 
probably  derived  from  contemporary  Greek  vase-painting. 


ETRUSCAN - 52O-45O  B.  C.  33 

In  the  earlier  examples  the  engravings  are  only  slightly 
polished;  later  a  high  polish  became  popular. 

35  Banded  Agate  Scarab.  Kapaneus,  struck  by 
Zeus’s  thunderbolt,  is  falling  backward;  his  right  hand 
has  let  go  of  his  sword  and  his  helmet  has  fallen  from  his 
head.  The  engraving  is  surrounded  by  a  cable  border. 
The  beetle  is  carefully  worked;  the  edge  of  the  base  on 
which  it  stands  is  ornamented  with  tongue  pattern. 
Good  Etruscan  work  of  the  middle  of  the  fifth  century 
B.  C. 

Kapaneus,  one  of  the  seven  Argive  heroes  who  attacked 
Thebes,  and  who  invited  the  wrath  of  Zeus  by  his  presump¬ 
tuous  bearing,  appears  frequently  on  Etruscan  monu¬ 
ments,  not  only  on  gems,  but  on  later  terracotta  urns 
(cf.  Furtwangler,  A.  G.,  pis.  xvi,  xvii,  passim;  Overbeck, 
Galerie  heroischer  Bildwerke,  pi.  5,  2).  His  fate  well  illus¬ 
trates  the  strong  Greek  feeling  about  the  danger  of  v/3p<.s. 

in.  x  %  in.  (16.27  mm.  x  11.51  mm.);Th.  %in.  (8.73  mm.). 
King  Collection,  No.  242.  Mentioned,  Bullettino  dell’  Insti¬ 
tute,  1831,  p.  106,  26.  Published  by  Furtwangler,  A.  G.,  pi. 
xvi,  35;  he  places  it  in  class  5  in  his  classification  of  Etruscan 
scarabs,  cf.  A.  G.,  Ill,  p.  185.  King,  Ant.  Gems  and  Rings, 
II,  copperplates,  first  group,  iv,  37.  The  engraving  is  highly 
polished.  Acc.  No.  81.6.4. 


GRAECO-PHOENICIAN  GEMS 

END  OF  SIXTH  CENTURY-FOURTH  CENTURY  B.  C. 

Another  class  of  gems  in  which  the  influence  of  archaic 
Greek  art  is  strongly  shown  is  that  of  the  Graeco-Phoeni¬ 
cian  scarabs,  chiefly  found  in  the  Carthaginian  cemeteries 
of  Sardinia  (cf.  Furtwangler,  A.  G.,  Ill,  pp.  108  ff.).  The 
stones  there  discovered  show  that  during  the  sixth  century 
B.  C.  Phoenician  art  was  strongly  subject  to  Egyptian 
influence,  but  that  from  the  end  of  that  century  both  the 
Greek  style  and  Greek  subjects  were  adopted.  This 
archaic  Greek  style  persevered  in  the  Phoenician  stones 
throughout  the  fifth  century  and  into  the  fourth  century, 
long  after  a  much  freer  style  had  been  introduced  in  Greece 
itself — a  phenomenon  with  which  we  are  familiar  from 
Carthaginian  coins. 

The  shape  adopted  for  these  stones  is  almost  exclusively 
the  scarab.  The  favorite  material  is  green  jasper;  but 
the  colored  quartzes,  especially  carnelian  and  chalcedony, 
also  occur,  and  occasionally  glass. 

The  representations  consist  chiefly  of  the  favorite  Greek 
types  of  youths  and  men,  crouching,  running,  and  walking, 
with  various  attributes,  and  of  mythological  creatures, 
such  as  a  Seilenos,  Medusa,  Triton,  or  the  Egyptian  God 
Besa.  Human  heads  and  fantastic  combinations  of  heads 


34 


39 


40 


GRAECO-PHOENICIAN  35 

and  masks  are  also  common.  The  latter,  which  fore¬ 
shadow  the  later  grylloi,  apparently  had  an  apotropaic 
significance. 

There  are  as  yet  no  examples  of  this  class  in  our  collec¬ 
tion. 


DEVELOPED  GREEK  STYLES 

FIFTH  AND  FOURTH  CENTURIES  B.  C. 

The  great  height  attained  by  Greek  art  in  the  second 
half  of  the  fifth  century  B.  C.  is  illustrated  in  the  gems  as 
it  is  in  the  other  products  of  the  period.  It  is  indeed  re¬ 
markable  to  find  the  same  high  conception  of  beauty  and 
serenity  in  the  minute  products  of  the  gem-cutters  as  in 
the  large  statues,  and  we  are  made  to  realize  once  again, 
as  we  are  so  often  in  our  study  of  the  Greeks,  that  artistic 
ability  was  a  common  property  and  did  not  belong  only 
to  a  few  prominent  sculptors  or  painters. 

It  is  unfortunate  that  gems  of  this  epoch,  especially 
of  the  fifth  century,  are  comparatively  rare.  The  theory 
advanced  to  explain  this  circumstance,  that  rings  were 
hardly  worn  at  this  time,  is  based  on  the  fact  that  neither 
in  sculptures  nor  in  vases  do  we  find  figures  with  rings, 
while  necklaces  or  earrings  are  common.  But  this  nega¬ 
tive  evidence  seems  to  be  contradicted  by  the  positive 
testimony  of  contemporary  literature.  As  we  have  seen, 
the  custom  of  sealing  was  wide-spread  in  Greece  in  the  time 
of  Sophokles,  Euripides,  and  Aristophanes  (cf.  pp.  xix  ff.). 
The  numerous  rings  with  seals  enumerated  in  Greek  temple 
lists  as  gifts  by  votaries  also  point  to  the  universality  of  the 
custom  (cf.  p.  xxx).  However,  though  the  use  of  seals 
was  general,  the  possession  of  a  personal  seal  appears  to 

36 


Girl  Dancing 


Plate  14 

NO.  36 


GOLD 


DEVELOPED  GREEK  STYLES  37 

have  been  confined  to  the  upper  classes.  Aristophanes 
(Clouds,  331-332)  ridicules  “the  fine  gentlemen  with  well- 
kept  nails  and  long  hair  that  wear  seal  rings”  {a<t>ayi5ovvX- 
apyoKofxriTas) ;  and  couples  “grandees”  with  “those  who 
have  seal  rings”  (Ecclesiazousae,  632).  The  foppish 
rhapsodist  Hippias  tells  of  going  to  the  games  at  Olympia 
with  everything  that  he  wore  his  own  handiwork,  includ¬ 
ing  an  engraved  ring  and  a  sealstone  (Plato,  Hippias  Minor, 
368  b).  So  that  the  demand,  though  constant  (for  it  is 
only  through  regular,  steady  work  that  the  gem  engravers 
of  this  period  could  have  attained  the  perfect  technique 
which  characterizes  their  work),  was  nevertheless  re¬ 
stricted.  Furthermore,  there  was  no  great  foreign  market 
like  Etruria  for  Greek  gems  as  there  was  for  Greek  vases. 
The  Etruscans,  as  we  have  seen,  carried  on  a  successful 
gem  industry  of  their  own  from  the  end  of  the  sixth  century 
B.  C.,  and  therefore  did  not  need  to  import  foreign  pro¬ 
ducts.  Consequently,  the  Greek  gems  were  manufac¬ 
tured  chiefly  for  home  needs,  not  on  a  large  scale  for  ex¬ 
port,  like  the  vases. 

Though  in  the  fifth  century  the  lonians  were  still  prom¬ 
inent  in  the  Greek  artistic  movement,  they  were  no  longer 
the  prime  movers.  Other  art  centers  had  sprung  up  all 
over  the  Greek  world.  In  Greece  proper  a  more  finished, 
self-contained  style  had  been  developed  which  spread  in 
its  turn  to  Magna  Graecia  and  Sicily. 

The  favorite  shape  employed  is  now  no  longer  the  scarab 
but  the  scaraboid.  1  he  scarab  disappeared  entirely  in 
Ionian  work  in  the  fifth  century  B.  C.  In  Greece  proper 
and  Magna  Graecia  it  was  still  used  occasionally  in  that 
period,  but  by  the  fourth  century  it  had  become  quite 
rare.  Sometimes  the  back,  instead  of  being  modeled  in 
the  form  of  a  beetle,  is  shaped  like  a  lion.  The  scaraboid 
was  generally  large  and  thick.  Like  the  scarab  it  was 


38  CATALOGUE  OF  ENGRAVED  GEMS 

regularly  perforated  and  was  worn  on  a  swivel  either  as  a 
pendant  or  on  the  finger;  but  occasionally  unperforated 
stones  are  found,  and  these  mark  the  beginning  of  the 
ringstones  mounted  in  fixed  settings  which  were  later  to 
enjoy  so  great  a  popularity.  The  representation  is  regu¬ 
larly  engraved  on  the  flat  side  of  the  scaraboid,  but  occa¬ 
sionally  we  find  it  on  the  convex  side,  and  now  and  then 
both  sides  are  ornamented  (cf.  No.  35).  The  other  shapes 
which  occur  are  the  cylinder  with  flat  sides,  a  rectangular 
stone  with  faceted  surface,  an  oblong  stone,  and  the 
Oriental  cone  forms. 

By  far  the  commonest  stone  of  this  period  is  the  chalce¬ 
dony.  In  the  Ionian  gems  it  was  used  almost  exclusively. 
Less  frequent  are  the  carnelian,  agate,  rock  crystal,  jasper, 
and  lapis  lazuli.  Glass  paste  as  a  substitute  for  stone 
also  occurs.  Besides  such  stones  in  swivel  rings  we  often 
find  rings  made  entirely  of  metal.  At  present  the  best- 
preserved  examples  are  of  gold,  though  bronze  and  silver 
examples  were  probably  even  more  common.  They  have 
large  oval  or  round  bezels,  frequently  quite  thick  (cf. 
Marshall,  Cat.  of  Finger  Rings  in  the  Brit.  Mus.,  p.  xli, 
c,  x-xvii). 

Inscriptions  occur  more  frequently  in  this  period  than 
in  the  preceding.  They  generally  give  the  name  of  the 
owner,  often  only  the  beginning  of  his  name  being  re¬ 
corded.  Occasionally  they  refer  to  the  people  represented 
or  they  contain  a  greeting.  Sometimes  the  name  of  the 
artist  is  given  (see  p.  xxxviii).  Of  Dexamenos,  for  instance, 
several  signed  works  are  preserved,  and  they  represent 
the  best  which  has  been  produced  in  Greek  gem-cutting. 

The  styles  are  of  course  the  same  which  are  observable 
in  Greek  work  in  general.  We  can  differentiate  Ionian 
work  from  the  products  of  Magna  Graecia  and  Sicily;  and 
we  can  distinguish  fifth-century  work  from  that  of  the 


Plate  15 

no.  37 


Heron 


CARN  ELIAN 


DEVELOPED  GREEK  STYLES  39 

succeeding  century.  The  engravings  are  generally  not 
polished,  or  only  slightly  so. 

With  regard  to  the  choice  of  subjects,  we  notice  a  dis¬ 
tinct  difference  from  that  in  vogue  in  archaic  times.  The 
favorite  deities  are  now  Aphrodite,  Eros,  and  Nike.  The 
other  gods  and  goddesses  also  occur,  but  much  less  fre¬ 
quently;  nor  are  mythological  heroes  as  common  as  before. 
The  chief  theme  is  now  the  daily  life  of  the  people,  es¬ 
pecially  of  the  women.  A  woman  taking  a  bath,  making 
music,  playing  with  animals,  and  so  forth,  are  all  favorite 
subjects.  Animals  are  likewise  common;  they  are  repre¬ 
sented  either  singly  or  attacking  each  other.  Here  again 
we  notice  a  preference  for  the  natural  rather  than  the 
supernatural;  for  fantastic  creatures  are  comparatively 
rare. 

The  encircling  border  which  was  in  regular  use  in  the 
preceding  period  still  frequently  occurs  in  the  older  ex¬ 
amples,  but  by  the  fourth  century  it  is  no  longer  employed; 
in  the  Ionian  it  is  omitted  in  the  fifth  century  also. 

There  is  a  close  connection  between  the  work  on  coins 
and  on  gems  throughout  this  period.  Probably  the  same 
person  often  practised  both  arts;  this  we  know  to  have 
been  the  case  with  at  least  two  artists,  Phrygillos  and 
Olympios  (cf.  Furtwangler,  A.  G.,  Ill,  p.  126).  The 
representations  themselves,  however,  do  not  show  so  many 
parallels  as  in  the  preceding  epoch. 

Fifth  Century 

36  Gold  Finger  Ring  with  large  oval  bezel  and  four¬ 
sided  hoop,  of  characteristic  fifth-century  type.  On  the 
bezel  is  engraved  the  figure  of  a  nude  girl  in  dancing  pos¬ 
ture  with  head  thrown  back  and  arms  raised.  Her  hair 
is  brushed  forward  and  tied  together  in  a  knot  in  front. 
In  the  background  is  a  chair  over  which  hangs  her  drapery. 


40  CATALOGUE  OF  ENGRAVED  GEMS 

This  is  one  of  the  most  beautiful  Greek  engravings  known. 
The  figure,  though  worked  on  so  small  a  scale,  shows  the 
same  simplicity  and  largeness  of  conception  as  contempo¬ 
rary  sculpture. 

That  this  is  a  girl  in  dancing  posture,  rather  than  a  girl 
stretching  herself,  is  shown  by  a  comparison  with  a  figure 
in  a  similar  attitude  on  a  vase-painting  (cf.  Daremberg 
et  Saglio,  Dictionnaire,  under  Saltus, 
p.  1039,  fig.  6066,  and  especially,  M. 
Emmanuel,  La  Danse  grecque,  p.  196, 
fig.  420,  where  the  various  movements 
of  such  a  dance  are  described). 

A  figure  in  the  same  attitude  as  on 
our  ring  occurs  on  a'  gem  found  in  a 
fourth-century  sarcophagus  at  Kertsch 
(published  by  Furtwangler,  in  A.  G.,  Ill,  p.  134,  fig.  93). 
That  our  ring  belongs  to  an  earlier  period  is  clearly  shown 
by  the  proportions  of  the  body  and  the  type  of  face  of  the 
girl,  which  are  characteristic  of  the  fifth  century  B.  C. 
The  statue  which  our  figure  most  closely  resembles  is 
the  Esquiline  Venus,  probably  a  reproduction  of  a  work  of 
the  middle  of  the  fifth  century  B.  C.;  and  it  is  to  that 
period  that  our  ring  must  belong. 

D.  of  hoop,  2%2  in.  (23.02  mm.);  L.  of  bezel,  %  in.  (1984  mm.); 
Wt.  243 y2  grains  (15.78  grammes).  Purchased,  1906.  From 
Macedonia.  Published  by  E.  R(obinson),  Museum  Bulletin, 
1907,  p.  123,  No.  4,  fig.  2.  Acc.  No.  06.1 124.  (In  Gallery  1 1 : 
C  32). 

37  Carneuan  Scaraboid,  perforated  lengthwise. 
Engraved  on  one  side  with  a  heron  spreading  its  wings; 
on  the  other  with  a  nude  woman  (Aphrodite?)  standing  by 
a  wash  basin:  one  hand  is  placed  on  the  basin,  the  other  is 
raised  to  hold  the  garment  which  falls  from  her  head. 
Each  representation  is  surrounded  by  a  cable  border. 


Plate  16 
no.  38 


Child  and  Hound 


CARNELIAN 


DEVELOPED  GREEK  STYLES  41 

Fine  Greek  work  of  the  second  half  of  the  fifth  century 
B.  C. 

The  bird  can  be  identified  as  a  heron,  rather  than  a 
crane,  by  its  crest  (cf.  Keller,  Die  antike  Tierwelt,  II, 
p.  202).  Cranes,  storks,  herons,  geese,  etc.,  were  favorite 
subjects  for  representation  on  Greek  gems  (cf.  Imhoof- 
Blumer  und  Keller,  pi.  xxii,  1-17).  They  are  depicted  in 
various  attitudes,  sometimes  in  masterly  technique  (cf., 
e.  g.,  Furtwangler,  A.  G.,  pi.  xiv,  2,  4). 

%  in.  x%  in.  (24.6  mm.  x  18.25  mm.);  Th.  %  in.  (7.14  mm.). 
Purchased,  1911.  From  the  collection  of  Sir  Arthur  J.  Evans, 
and  said  to  be  from  Kastorea  in  Macedonia.  Published  by 
Imhoof-Blumer  und  Keller,  Tier-  und  Pflanzenbilder,  p.  135, 
pi.  xxii,  No.  10;  Furtwangler,  A.  G.,  II,  p.  60,  Nos.  38-39,  pi.  xii; 
described,  Museum  Bulletin,  1912,  p.  98.  The  stone  has  turned 
yellow  in  places  owing  to  contact  with  great  heat.  Acc.  No. 

1 1.196.1. 


38  Carnelian  Scaraboid  cut  into  a  ringstone.  A 
child  caressing  a  hound;  around  the  representation  is  a 
cable  border.  Both  the  child  and  the  hound  are  well  char¬ 
acterized,  in  the  free  style  of  the  second  half  of  the  fifth 
century. 

%  in.  x4%i  in.  (13.49  mm.  x  17.06  mm.);  Th.  ya  in.  (3.17  mm.). 
King  Collection,  No.  303.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  copperplates,  first  group,  V,  53.  Convex  on  the  en¬ 
graved  side.  On  the  back  of  the  stone  are  traces  of  the  original 
perforation.  Acc.  No.  81.6.257. 


39  Carnelian  Scaraboid,  mounted  in  a  gold  band 
setting  ornamented  with  filigree  decoration  and  blind 
swivels,  and  suspended  from  a  plain  gold-plated  ring.  On 
the  stone  is  engraved  Nike  holding  a  wreath,  in  the  simple, 
dignified  style  of  the  fifth  century  B.  C. 

Compare  the  similar  representations  of  the  coins  of 


42  CATALOGUE  OF  ENGRAVED  GEMS 

Terina  in  Bruttium  of  about  480-425  B.  C.  (cf.  K.  Regling’s 
Terina,  66tes  Winckelmannsprogram,  1906,  pis.  ii  and  iii). 

(As  set)  %  in.  x  %  in.  (13.49  mm.  x  10.71 
mm.);  Th.  % \  in.  (4.76  mm.).  From  Cyprus. 
Cesnola  Collection.  Cf.  Myres,  Handbook, 
No.  4174.  Illustrated,  Cesnola  Atlas,  III,  pi. 
xxix,  1 1,  and  Cyprus,  pi.  xxxix,  4.  Acc.  No.  C. 
E.  20. 

40  Gold  Ring  with  hoop  composed  of 
a  beaded  wire  between  two  plain  wires 
39  which  end  in  volutes.  On  the  oval  and 

notched  bezel  are  engraved  two  flying 
Sirens,  with  a  palmette  between  them;  one  Siren  holds 
two  wreaths,  the  other  a  kithara  and  a  wreath.  Spirited 
but  not  very  careful  work  of  the  later  fifth  or  early  fourth 
century  B.  C. 

The  Greek  Siren  or  human-headed  bird  is  clearly  derived 
from  the  Egyptian  representation  of  the  human  soul 
(cf.  G.  Weicker,  Der  Seelenvogel,  p.  85). 
With  the  Greeks,  however,  the  idea  was 
further  developed,  and  the  Siren  was 
not  only  a  soul,  but  a  death  demon  who 
causes  death  or  carries  off  the  souls  of 
the  dead  (cf.  G.  Weicker  in  Roscher’s 
Lexikon,  under  Seirenen,  cols.  602  and 
608  ff.).  The  making  of  music  is  appropriate  to  all  these 
conceptions — to  the  lamenting  soul,  to  the  mourning 
demon,  and  to  the  demon  who  lures  men  to  destruction 
by  her  song.  Musical  instruments,  therefore,  are  the 
usual  attributes  of  the  Greek  Siren.  The  wreath  is  like¬ 
wise  not  uncommon  (cf.  G.  Weicker,  op.  cit.,  col.  626), 
and  probably  signifies  the  crown  of  life,  since  on  a  Cyrenaic 
kylix  (Louvre,  E667)  we  see  Sirens  crowning  men  with 
wreaths  (cf.  G.  Weicker,  op.  cit.,  col.  61 1). 


Plate  17 

NO.  41 


Horse 


CHALCEDONY 


DEVELOPED  GREEK  STYLES 


43 


D.  of  hoop,  in.  (2 1.83  mm.) ;  L.  of  bezel,  in.  ( 1 7.86  mm.) ; 
Wt.  69H  grains  (4.5046  grammes).  From  Cyprus.  Cesnola 
Collection.  Cf.  Myres,  Handbook,  No.  4059.  Illustrated, 
Cesnola,  Cyprus,  pi.  xxiv,  1.  Acc.  No.  C.  E.  21. 

41  Yellowish  Gray  Chalcedony  Scaraboid,  per¬ 
forated  and  threaded  on  a  pin,  which  is  attached  to  a 
heavy  silver  swivel  ring,  similar  to  No.  32.  On  the  stone 
is  engraved  a  horse  preparing  to  lie  down,  and  the  inscrip¬ 
tion  5THSIKPATHS,  probably  the  owner’s  name;  the  en¬ 
graving  is  encircled  by  a  line.  Fine,  careful  work,  about 
the  middle  of  the  fifth  century. 

For  similar  representations  of  horses  in  the  act  of  roll¬ 
ing  cf.  Furtwangler,  A.  G.,  pis.  vi,  62;  xi,  44;  xiii,  40;  xv, 
85;xvii,  67;  xxviii,  76,  78;  and  Berl.  Kat.,  No.  5490. 

The  type  of  ring  is  that  in  common  use  in  the  sixth  cen¬ 
tury  (cf.  p.  17  and  No.  13),  but  which  apparently  sur¬ 
vived  well  into  the  fifth  century  (cf.  No.  45). 

%  in.  x  %  in.  (15.87  mm.  x  22.22  mm.);  Th.  %  in.  (8.33  mm.). 
From  Cyprus.  Cesnola  Collection.  Cf.  Myres,  Handbook,  No. 
4198.  Illustrated,  Cesnola  Atlas,  III,  pi.  xxvii,  2,  and  Cyprus, 
pi.  xl,  14;  published  by  Imhoof-Blumer  und  Keller,  Tier-  und 
Pflanzenbilder,  pi.  xvi,  42;  O.  Keller,  Die  antike  Tierwelt,  I, 
pi.  iii,  11.  The  pin  was  broken  from  the  ring  and  has  been  re¬ 
attached.  Acc.  No.  C.  E.  22. 

42  Chalcedony  Scaraboid  of  bluish  gray  color,  per¬ 
forated  lengthwise.  Lion  walking.  Careful  work,  prob¬ 
ably  Ionic  Greek  of  the  fifth  century  B.  C.  Note  the  ab¬ 
sence  of  a  border  and  the  effect  of  space  obtained  around 
the  engraving. 

Compare  Furtwangler,  A.  G.,  pi.  xi,  36. 

%  in.  x  1 14x  in.  (19.45  mm.  x  28.18  mm.);  Th.  y8  in.  (9.52  mm.). 
Purchased,  1907.  Unpublished.  Acc.  No.  07.286.121. 

43  Chalcedony  Scaraboid,  of  bluish  gray  color, 
perforated  lengthwise.  Stag,  apparently  in  the  act  of 


44  CATALOGUE  OF  ENGRAVED  GEMS 

rising.  Note  the  absence  of  the  surrounding  border.  The 
execution  is  cursory.  Probably  Ionic  Greek  work  of  the 
fifth  century  B.  C. 

Compare  Furtwangler,  Berl.  Kat.,  No.  296,  and  A.  G., 
pi.  xi,  25. 

%in.  x%  in.  (15.48  mm.  x  23.02  mm.);  Th.  %  in.  (9.13  mm.). 
King  Collection,  No.  304.  Published  by  Furtwangler,  A.  G., 
pi.  xviii,  74;  Osborne,  Engraved  Gems,  pi.  vi,  20.  A  small  piece 
is  missing  on  one  side.  Acc.  No.  81.6.8. 

44  Black  Jasper  in  a  gold  band  setting  ornamented 
with  filigree  decoration  and  mounted  in  a  gold-plated 
bronze  ring  of  the  same  type  as  No.  27.  On  the  convex 
side  of  the  stone  is  engraved  a  sleeping  dog  tethered  to  a 
tree  trunk.  Around  the  representation  is  a  cable  border. 
Good  work,  probably  of  the  fifth  century. 

For  a  similar  representation  of  a  sleeping  hound,  equally 
realistic,  cf.  Furtwangler,  A.  G.,  pi.  xviii,  61. 

(As  set)  %  in.  x  %  in.  (11.91  mm.  x  17.06  nim.);  Th.  ys  in. 
(9.52  mm.).  From  Cyprus.  Cesnola  Collection.  Cf.  Myres, 
Handbook,  No.  4226.  Illustrated,  Cesnola,  Cyprus,  pi.  xl,  15. 
The  ring  was  broken  off  and  reattached.  Acc.  No.  C.  E.  23. 

45  Banded  Agate,  rectangular,  perforated,  and 
threaded  on  a  pin  which  is  attached  to  a  heavy  silver 
swivel  ring,  of  the  same  type  as  Nos.  32  and  41.  On  the 
stone  a  crane  is  roughly  engraved,  in  fifth-century  style. 

%  in.  x  y8  in.  (20.64  mm.  x  9.52  mm.);  Th.  %  in.  (7.54  mm.). 
From  Cyprus.  Cesnola  Collection.  Cf.  Myres,  Handbook,  No. 
4210.  Illustrated,  Cesnola  Atlas,  III,  pi.  xxvii,  7,  and  Cyprus, 
pi.  xl,  17.  The  silver  ring  is  corroded;  the  pieces  which  attach  it 
to  the  stone  are  modern.  Acc.  No.  C.  E.  24. 

Fourth  Century 

46  Gold  Finger  Ring  with  pointed  oval  bezel,  slightly 
convex,  and  four-sided  hoop.  On  the  bezel  is  engraved  a 


Plate  18 

NO.  42 


Lion 


CHALCEDONY 


DEVELOPED  GREEK  STYLES 


45 

group  representing  Aphrodite  and  Eros.  Aphrodite, 
fully  draped,  is  seated  on  a  chair  and  is  placing  one  hand 
about  the  neck  of  Eros,  who  stands  in  front  of  her;  Eros 
is  holding  a  stick  on  which  a  bird  is  perched.  Good  Greek 
work  of  the  fourth  century  B.  C. 

Aphrodite  playing  with  her  son  Eros  is  a  popular  and 
characteristic  subject  on  gold  rings  of  this  period.  Com¬ 
pare,  e.  g„  Furtwangler,  A.  G.,  Ill,  p.  132,  fig.  90,  and  p. 
141,  fig.  97.  For  the  subject,  cf.  also  coins  from  Eryx, 
Sicily  (P.  Gardner,  The  Types  of  Greek  Coins,  pi.  vi,  3). 

D.  of  hoop.  5%  in.  (21.83  mm.);  L.  of  bezel,  in.  (18.25mm.); 
Wt.  150  grains  (9.72  grammes).  Purchased,  1906.  Said  to  be 
from  Macedonia.  Described,  Museum  Bulletin,  1907,  p.  123, 
No.  5.  Acc.  No.  06.1 123.  (In  Gallery  II:  C  32.) 

47  Gold  Finger  Ring  with  oval  bezel  and  four-sided 
hoop.  On  the  bezel  is  engraved  a  girl  dancing,  with  a 
stick  in  one  hand.  Good  Greek  work  of  the  fourth  cen¬ 
tury  B.  C.;  the  delicate  folds  of  the  garment  are  especially 
well  done. 

D-  of  hoop,  25^,  in.  (19.84  mm.);  L.  of  bezel,  yg  in.  (15.87  mm.); 
Wt.  6514  grains  (4.24  grammes).  Purchased,  1907.  Unpub¬ 
lished.  Acc.  No.  07.286. 1 17.  (In  Gallery  II :  C  32.) 

48  Gold  Finger  Ring  with  large  round  bezel  and 
flattened,  angular  hoop.  On  the  bezel  is 
engraved  a  draped  woman  scattering 
incense  into  an  incense-burner.  Sketchy 
execution  of  the  fourth  century  B.  C. 

Compare  the  Nike  scattering  incense, 
on  a  carnelian  in  the  De  Clercq  Col¬ 
lection  in  Paris  (De  Ridder,  Catalogue,  48 

I,  pi.  36,  410,  p.  238). 

D.  of  hoop,  %  in.  (22.22  mm.);  L.  of  bezel,  %  in.  (23.81  mm.); 
Wt.  160^  grains  (10.4  grammes).  Purchased,  1906.  Said  to  be 


46  CATALOGUE  OF  ENGRAVED  GEMS 

from  Macedonia.  Described,  Museum  Bulletin,  1907,  p.  123, 
No.  6.  Acc.  No.  06. 1 125.  (In  Gallery  1 1 :  C  32.) 

49  Colorless  Glass  Paste.  Apollo  seated  and  play¬ 
ing  the  lyre.  Probably  Greek  work  of  the  fourth  century 
B.  C. 

%  in.  x  Vi  in.  (21.43  mm.  x  1 5-87  mm.);  Th.  %  in.  (4.76  mm.). 
Greau  Collection,  No.  1061.  Published  by  Froehner,  Greau 
Collection,  pi.  clxxiv,  47.  Convex  on  the  unengraved  side. 
Chipped,  with  small  pieces  missing  from  the  edge.  The  surface 
of  the  design  is  considerably  corroded.  Acc.  No.  1 7. 1 94.22. 


50  Carnelian  Ringstone  in  a  gold  band  setting, 
mounted  in  a  silver  ring.  On  the  stone  is  engraved  a 
woman  crouching  as  if  at  the  bath  and  pulling  up  her 
garment.  Fair  work  in  the  style  of  the  fourth  century 
B.  C. 

For  similar  representations  in  fifth-century  style,  cf. 
Furtwangler,  A.  G.,  pi.  xiii,  23,  27. 

(As  set)  %  in.  x  %  in.  (15.08  mm.  x  1 1.91  mm.);  Th.  %  in. 
(5.95  mm.).  From  Cyprus.  Cesnola  Collection.  Cf.  Myres, 
Handbook,  No.  4229.  Illustrated,  Cesnola  Atlas,  III,  pi. 
xxvii,  5,  and  Cyprus,  pi.  xl,  13.  The  silver  of  the  ring  is  some¬ 
what  corroded;  the  stone  is  slightly  convex  on  the  engraved  side. 
Acc.  No.  C.  E.  25. 


51  Banded  Agate  Ringstone.  Dionysos  standing 
to  left,  holding  a  thyrsos  with  fillet  and  a  cup.  Effect¬ 
ive,  delicate  work,  probably  archaistic  Greek  of  the  fourth 
century  B.  C.,  or  slightly  later. 

For  a  similar  representation  in  the  same  style  cf.  Furt¬ 
wangler,  A.  G.,  Ill,  p.  133,  fig.  92.  The  type  appears  also 
in  the  Hellenistic  period  (cf.  Furtwangler,  A.  G.,  pis.  xxiv, 
66;  xxv,  23);  but  the  delicacy  of  the  work  in  our  example 
makes  the  earlier  date  more  probable. 


Plate  iq 


DEVELOPED  GREEK  STYLES 


47 


1^4  in.  x  %  in.  (25.8  mm.  x  13.1  mm.);  Th.  y%  in.  (3. 17  mm.). 
King  Collection,  No.  182.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  lviii,  1;  Ant.  Gems  and  Rings,  II,  woodcuts, 
pi.  xxvii,  A,  1  and  copperplates,  second  group,  II,  14;  Furtwangler, 
A.  G.,  pi.  xxiv,  42;  illustrated.  King,  Ant.  Gems,  pi.  ii,  14;  Raspe- 
Tassie,  Catalogue,  pi.  37,  4202.  Acc.  No.  81.6.9. 

52  Carnelian  Ringstone.  Lion  (or  panther)  on  the 
back  of  a  deer  biting  it  in  the  neck.  Spirited,  but  not 
very  careful  work  of  the  fifth  to  fourth  century  B.  C. 


51 

For  similar  representations  of  this  period,  cf.  Furt¬ 
wangler,  A.  G.,  pi.  xiii,  36;  Berl.  Kat.,  No.  363.  Compare 
also  the  groups  on  coins,  Head,  Historia  Numorum,  p.  89, 
fig.  48  (Velia),  and  p.  731,  fig.  323  (Tarsus). 

%  in.  x  ^  in.  (11.51  mm.  x  13.89  mm.);  Th.  %  in.  (1.98  mm.). 
King  Collection,  No.  291.  Unpublished.  Slightly  convex  on 
both  sides.  Slightly  chipped  round  the  edge.  Acc.  No.  81. 6.1 1. 

53  Amethyst  Ringstone.  A  griffin  biting  a  deer  in 
the  neck.  Greek  work,  probably  of  the  fourth  century 
B.  C.,  delicately  executed. 

For  a  similar  group,  worked  in  the  same  delicate  style, 
cf.  Furtwangler,  A.  G.,  pi.  xiii,  39. 


48  CATALOGUE  OF  ENGRAVED  GEMS 

%  in.  x  %  in.  (i  i  .9 1  mm.  x  15.08  mm.);  Th.  %  in.  (3.  97  mm.). 
King  Collection,  No.  316.  Unpublished.  Convex  on  both 
sides.  Chipped  in  places.  Acc.  No.  81.6.10. 

54  Gold  Ring  with  four-sided  hoop  and  pointed  oval 
bezel.  On  the  bezel  is  lightly  engraved  a  fern  design  sur¬ 
rounded  by  a  border  of  dots.  Probably  fourth  century 
B.  C. 

D.  of  hoop,  %  in.  (13.49  mm.);  L.  of  bezel,  3%  in.  (13. 1  mm.); 
Wt.  13  grains  (.8424  grammes).  From  Cyprus.  Cesnola  Col¬ 
lection.  Cf.  Myres,  Flandbook,  No.  4060.  Illustrated,  Ces¬ 
nola  Atlas,  III,  pi.  xxx,  20.  Acc.  No.  C.  E.  26. 


Plate  20 


54 


GRAECO-PERSIAN  GEMS 

Though,  as  we  have  pointed  out,  Greek  gems  of  the 
fifth  century  were  not  manufactured  like  the  vases  for 
export  trade,  and  have  therefore  not  been  found  exten¬ 
sively  in  non-Greek  lands,  the  glyptic  art  of  other  coun¬ 
tries  was  naturally  greatly  influenced  by  contemporary 
Greek  work.  This  influence  is  noticeable  both  in  the  East 
and  in  the  West.  An  important  example  of  it  in  the 
eastern  world  is  the  group  of  gems  generally  referred  to  as 
Graeco-Persian.  There  were,  as  we  know,  intimate  rela¬ 
tions  between  the  great  Persian  Empire  and  the  Greek 
world,  particularly  with  Ionia.  Though  the  haughty 
Persian  nobles  despised  the  Greeks,  and  the  Greeks  in 
their  turn  regarded  the  Persians  as  barbarians,  it  was 
inevitable  that  sooner  or  later  the  rather  monotonous  and 
barren  art  of  the  Persians  should  reflect  the  vivifying  con¬ 
tact  with  the  superior  Greek  culture.  Thus  we  find  that 
the  gems  of  purely  Persian  style  are  followed  in  the  second 
half  of  the  fifth  century  and  in  the  first  half  of  the  fourth 
century  by  gems  in  which  Persian  and  Greek  elements 
commingled.  They  were  evidently  made  by  Greeks  for 
Persians.  The  adaptable  Greeks  accommodated  them¬ 
selves  sufficiently  to  Persian  taste  to  choose  their  subjects 
and  types  from  the  Persian  world;  but  the  style  and  execu¬ 
tion  are  wholly  Greek.  And  even  in  the  representations 


49 


50  CATALOGUE  OF  ENGRAVED  GEMS 

a  new  spirit  has  entered:  instead  of  pictures  portraying 
the  wonderful  deeds  of  the  Great  King  with  unvarying 
sameness,  we  now  find  scenes  from  the  daily  life  of 
the  Persian  nobles — preferably  contests  of  Persians  and 
Greeks,  or  hunting  scenes;  or  single  figures  of  Persian 
nobles  or  ladies;  or  the  Persian  king  or  noble  with  his 
followers  or  conquered  foes.  Animals  are  a  favorite  sub¬ 
ject,  and  among  them  a  number  of  monstrous  figures  occur; 
they  are  the  only  instances  in  these  gems  in  which  the 
Oriental  love  for  the  supernatural  survived. 

These  representations  are  executed  in  the  broad,  spir¬ 
ited  style  characteristic  of  Ionian  work.  As  in  Ionian 
gems,  there  is  no  desire  to  fill  up  the  whole  of  the  space 
with  engravings  and  the  encircling  border  is  always 
omitted. 

Most  Graeco-Persian  gems  have  the  scaraboid  form, 
which  is  adopted  directly  from  the  Greeks.  A  rectangu¬ 
lar  form  with  one  faceted  side  is  also  popular.  The  cone 
and  the  cylinder  are  used,  but  these  have  more  often  en¬ 
gravings  of  purely  Persian  style. 

Bluish  chalcedony  is  the  most  popular  material  for 
this  class  of  gems.  Rock  crystal,  jasper,  agate,  and  stea¬ 
tite  occur  less  frequently,  while  glass  paste  sometimes 
appears  as  a  substitute  for  stone. 

55  Rectangular  Perforated  Agate  with  one  side 
cut  into  five  facets.  On  the  plain  side  is  engraved  a 
Persian  horseman  spearing  a  boar.  The  horseman  wears 
the  characteristic  Persian  costume  with  long  trousers, 
sleeved  coat,  and  helmet-like  cap  covering  head,  neck, 
and  the  lower  part  of  the  face.  The  horse  is  represented 
in  full  front,  except  for  the  head — an  interesting  and  un¬ 
usual  experiment  on  this  class  of  gems.  The  five-faceted 
sides  are  decorated  with  animals — a  falcon,  a  bear,  a 


Plate  21 

NO.  47 


Girl  Dancing 


gold 


GRAECO-PERSIAN 


51 


hyena,  a  fox  with  a  grasshopper,  and  a  lizard — all  executed 
in  a  refreshingly  lifelike  though  not  very  finished  style. 
Second  half  of  fifth  century  B.  C.  [Illustrated  on  pi.  19.] 

Both  the  form  of  the  stone  and  most  of  the  representa¬ 
tions  are  paralleled  in  the  Graeco-Persian  gems  of  the 
period  figured  by  Furtwangler,  A.  G.,  pis.  xi,  upper 
half,  passim,  and  xii,  three  upper  rows,  passim.  The 
hyena  and  the  bear  are  both  rare  in  Greek  art,  though 
common  enough  on  these  stones  (cf.  Furtwangler,  A.  G., 
Ill,  p.  124).  For  the  falcon  in  ancient  art,  cf.  O.  Keller, 
Die  antike  Tierwelt,  1 1 ,  pp.  1 3  ff . 

Vs  in.  x  Ye,  in.  (15.87  mm.  x  15.87  mm.);  Th.  in.  (8.33  mm.). 
Lent  by  the  American  Numismatic  Society,  1919.  Formerly 
in  the  Collection  of  Duffield  Osborne.  Said  to  be  from  near 
Bagdad.  Published  by  D.  Osborne,  Engraved  Gems,  pi.  vi, 
18  a  and  b.  Chipped  in  places,  especially  on  the  flat  side. 

Besides  this  stone  two  other  Graeco- Persian  gems, 
temporarily  lent  by  Edward  T.  Newell,  are  at  present 
(1919)  exhibited  with  our  collection.  One  is  an  excep¬ 
tionally  fine  chalcedony  cylinder  with  a  Persian  horseman 
shooting  an  arrow  at  a  lion;  the  other  a  sard  scaraboid 
with  a  Persian  lady  holding  a  bowl  and  a  wreath. 


ETRUSCAN  GEMS 

ABOUT  45O-3OO  B.  C. 

The  Etruscan  scarabs  of  the  second  half  of  the  fifth 
century  B.  C.  show  the  developed  free  style  prevalent 
in  Greece  at  that  time.  The  modeling  is  much  softer 
than  in  the  archaic  period,  and  the  attitudes  of  the  figures 
are  composed  with  a  greater  knowledge  of  foreshortening. 
Young  heroes  still  form  the  favorite  subject  for  representa¬ 
tion,  Herakles  now  being  especially  popular.  The  ma¬ 
terials  are  the  same  as  those  used  for  the  archaic  Etruscan 
scarabs,  carnelian  retaining  its  great  popularity.  A  high 
polish  is  now  popular. 

The  close  following  of  Greek  models  by  the  Etruscan 
scarab  cutters  was  continued  during  the  first  half  of  the 
fourth  century  B.  C.  At  least,  there  are  a  number  of 
examples  which  both  in  their  style  and  in  their  choice 
of  subjects  (woman  bathing  or  drying  her  hair,  Aphrodite, 
Eros,  etc.)  show  an  intimate  connection  with  Greek  fourth- 
century  art.  But  by  far  more  numerous  and  wide-spread 
during  this  period  is  another  class  of  scarabs  which  makes 
its  appearance  at  the  end  of  the  fifth  century,  is  prevalent 
throughout  the  fourth  century,  and  lasts  until  the  begin¬ 
ning  of  the  third  century  B.  C.  The  distinguishing  char¬ 
acteristic  of  these  scarabs  is  that  they  are  very  roughly 
worked  with  the  round  drill,  without  any  indication  of 


52 


Plate  22 


ETRUSCAN — 45O-30O  B.  C.  53 

detail,  evidently  merely  for  decorative  effect  (cf.  Nos. 
65-69  and  Furtwangler,  A.  G.,  pi.  xix);  the  latter  is  height¬ 
ened  by  their  brilliant  polish.  Probably  such  scarabs 
were  used  as  ornaments  rather  than  seals.  As  sub¬ 
jects  for  representation  on  this  class  Herakles  and  Seil- 
enos  are  particularly  popular.  Apollo,  Artemis,  and  Leto, 
as  well  as  Centaurs,  Pegasos,  the  Chimaera,  Siren,  Medusa! 
and  all  manner  of  fantastic  creatures  are  also  common. 
Among  the  scenes  from  daily  life,  horsemen  and  chariots 
are  preferred. 

These  scarabs  have  been  found  not  only  in  Etruria, 
but  all  over  central  and  southern  Italy;  and  since  their 
style  is  very  individual,  and  differs  from  other  fourth- 
century  Etruscan  art,  it  is  not  probable  that  they  origin¬ 
ated  in  Etruria.  Perhaps  the  center  of  their  manufacture 
was  elsewhere  in  Italy;  but  where,  it  is  difficult  to  deter¬ 
mine  definitely. 

56  Banded  Agate  Scarab.  Herakles,  in  a  kneeling 
position,  throttling  the  Nemean  lion,  which  has  jumped 
on  his  shoulder  and  is  biting  his  right  leg;  in  front  of  Her¬ 
akles  is  his  club.  The  representation  is  surrounded  by  a 
cable  border.  The  beetle  is  carefully  worked,  the  edge 
of  the  base  being  ornamented  with  a  tongue  pattern.  The 
workmanship  is  of  great  beauty  and  shows  the  fully  devel¬ 
oped  style  of  the  second  half  of  the  fifth  century  B.  C. 

For  the  unusual  position  of  the  lion,  on  the  shoulder 
of  Herakles,  compare  the  archaic  Greek  gem  published  by 
Furtwangler,  A.  G.,  pi.  ix,  7,  and  the  black-figured  amphora 
in  the  British  Museum,  B.  193,  illustrated  in  A.  J.'A., 
XI  (1896),  p.  10,  fig.  7. 

%  in.  x%  in.  (17.06  mm.  x  13.1  mm.);  Th.  254  in.  (9.92  mm.). 
Purchased,  1911.  From  the  collection  of  Sir  Arthur  J.  Evans. 
Said  to  be  from  Falerii.  Published  by  Furtwangler,  A.  G.,  pi. 


/ 


54  CATALOGUE  OF  ENGRAVED  GEMS 


xx,  30;  he  places  it  in  class  7  of  his  classification  of  Etruscan 
scarabs;  cf.  A.  G.,  Ill,  p.  187.  Mentioned,  Museum  Bulletin, 
1912,  p.  98.  The  agate  has  been  blanched  by  fire.  Acc,  No. 
11.195.2. 


57  Front  of  a  Carnelian  Scarab.  Herakles  bend¬ 
ing  over,  about  to  throttle  the  Nemean  lion;  behind  Her¬ 
akles  is  his  club.  The  engraving  is  surrounded  by  a 
cable  border,  and  another  border  decorates  the  base  on 
which  the  beetle  stood.  Fair  Etruscan  work  of  the  sec¬ 
ond  half  of  the  fifth  century  B.  C. 

For  similar  representations  cf.  Furtwangler,  A.  G., 
pi.  xvii,  56,  57.  Compare  also  the  contemporary  coins 
from  Heraclea,  P.  Gardner,  The  Types  of  Greek  Coins, 
pi.  v,  6. 

%in.  x%in.  (18.25  mm.  x  13.89  mm.);  Th.  %in.  (2.78  mm.). 
King  Collection,  No.  215.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  Ixiv,  3.  The  back  of  the  scarab  has  been  cut 
away.  The  engraving  is  highly  polished.  Acc.  No.  81 .6.7. 

58  Agate  Scarab.  The  winged  Athena  is  striding 
forward,  holding  the  leg  of  a  giant  in  one  hand.  She  wears 
a  chiton  and  a  helmet  and  carries  a  shield;  in  front  of  her 
is  a  snake.  The  representation  is  surrounded  by  a  cable 
border,  and  a  similar  border  decorates  the  edge  of  the  base 
on  which  the  beetle  stands.  Fair  Etruscan  work  of  the 
fifth  century  B.  C. 

The  winged  Athena  is  not  an  Etruscan  innovation,  as 
was  once  thought,  but  appears  also  in  archaic  Ionic  art 
(cf.  Furtwangler,  A.  G.,  pi.  vi,  56).  The  mutilation  of  the 
enemy,  practised  apparently  by  the  Greeks  in  prehistoric 
times,  rested  on  the  belief  that  the  soul  of  the  slain  man 
would  thereby  be  prevented  from  wreaking  vengeance 
^tKTxciXto-At6s ;  cf.  on  this  subject  Furtwangler,  A-  G.,  Ill,  p. 
201,  where  this  stone  is  cited. 


Plate  23 

NO.  56 


Herakles  and  the  Nemean  Lion 


AGATE 


Etruscan — 450-300  b.  c.  55 

4%  in.  x  %  in.  (16.27  mm.  x  12.3  mm.);  Th.  %  in.  (9.13  mm.). 
King  Collection,  No.  97.  Published  by  King,  Hdbk.  of  Engraved 
Gems,  pi.  xx,  1.  Mentioned  by  Furtwangler,  loc.  cit.  Cracked 
and  chipped  in  several  places.  Acc.  No.  8 1 .6. 1 2. 

59  Carnelian  Scarab.  Winged  female  divinity, 
pouring  from  a  vase  (Eos?);  in  the  field  a  serpent.  Sur¬ 
rounding  the  representation  is  a  cable  border,  and  a 
similar  border  decorates  the  edge  of  the  base  on  which  the 
beetle  stands.  Fair  Etruscan  work,  of  the  fifth  to  fourth 
century  B.  C. 

For  similar  representations  cf.  Furtwangler,  Berl.  Kat., 
No.  223,  and  A.  G.,  pi.  xix,  67.  Eos,  the  goddess  of  dawn, 
carrying  a  water-jar  from  which  to  pour  the  dew,  appears 
on  red-figured  Athenian  vases  (cf.,  e.  g.,  one  in  the  Louvre, 
Gerhard,  Auserlesene  Vasenbilder,  I,  pi.  viii,  9).  The 
similar  conception  here  may  well  have  been  borrowed 
from  such  representations. 

%  in.  x  Vs  in.  (15.08  mm.  x  22.22  mm.);  Th.  %  in.  (8.33  mm.). 
King  Collection,  No.  162.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  xx,  2.  The  engraving  is  highly  polished.  Some¬ 
what  discolored  by  fire.  Acc.  No.  81.6.13. 

60  Front  of  a  Carnelian  Scarab.  Sphinx  crouch¬ 
ing,  holding  a  branch  between  her  fore-paws;  her  hair  is 
tied  up  to  form  a  bunch  at  the  top  of  her  head:  around 
the  representation  a  cable  border.  Rather  cursory  work, 
probably  Etruscan  of  the  fifth  to  fourth  century  B.  C. 

Compare  Furtwangler,  A.  G.,  pi.  xix,  62. 

K  in.  x  %  in.  (12.7  mm.  x  17.46  mm.);  Th.  %  in.  (2.78  mm.). 
King  Collection,  No.  31 1.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  xx,  3;  Osborne,  Engraved  Gems,  pi.  v,  14. 
The  back  of  the  scarab  has  been  cut  away.  The  engraving  is 
highly  polished.  Acc.  No.  81.6.2. 


61  Banded  Agate  set  in  a  gold  ring  with  broad 
rounded  hoop  and  large  convex  oval  bezel  decorated  with 


56  CATALOGUE  OF  ENGRAVED  GEMS 


embossed  patterns.  On  the  stone  is  engraved  a  Satyr 
sitting  on  a  stone  and  playing  with  a  goat.  The  represen¬ 
tation  is  surrounded  by  a  cable  border.  Spirited  Etruscan 
work  of  the  fourth  to  third  century  B.  C. 

For  similar  representations  cf.  S.  Reinach,  Pierres  gra¬ 
ces,  pi.  126,  75  and  the  examples  listed  by  Stephani, 
Compte  rendu,  1869,  p.  69,  notes  5,  6,  and  7. 


For  the  type  of  ring  cf.  Marshall, 
Catalogue  of  Finger  Rings  in  the 
British  Museum,  p.  xliv,  D  viii;  an 
example  almost  identical  to  ours  is 
ibid.  No.  356. 


(As  set)  %  in.  x  %  in.  (10.32  mm.  x 
16.67  mm.).  Purchased,  1895.  Unpub¬ 
lished.  Acc.  No.  G.S.  223.  (In  Gallery 
II :  C  32.) 


61 


62  Front  of  a  Carnelian  Scarab.  Bull  running  to 
left,  surrounded  by  a  cable  border.  Cursory  work, 
probably  Etruscan  of  the  fifth  to  fourth  century. 

Compare  Furtwangler,  Berl.  Kat.,  No.  213. 

%  in.  x  in.  (10.32  mm.  x  13.89  mm.);  Th.  %  in.  (9.52  mm.). 
King  Collection,  No.  297.  Unpublished.  The  back  has  been 
cut  away.  The  engraving  is  not  polished.  Acc.  No.  81.6.5. 

63  Carnelian  Scarab.  Bull  lying  down  with  head 
turned  back.  The  representation  is  surrounded  by  a 
cable  border.  Cursory  work,  of  similar  style  to  the  pre¬ 
ceding. 

%  in.  x  %  in.  (10.32  mm.  x  13.49  mm.);  Th.  %  in.  (8.73  mm.). 
King  Collection,  No.  298.  Unpublished.  The  engraving  is  not 
polished.  Acc.  No.  81.6.6. 

64  Yellow  Glass  Scarab.  Griffin  to  right,  sur¬ 
rounded  by  a  single  line.  Cursory  Etruscan  work  of  the 
fifth  to  fourth  century  B.  C. 


Plate  24 


ETRUSCAN — 45O-30O  B.  C.  57 

For  a  similar  representation,  cf.  Furtwangler,  Berl. 
Kat.,  No.  284. 

%  in.  x  %  in.  (10.32  mm.  x  13.89  rum.);  Th.  %in.  (6.75  mm.). 
Gr£au  Collection,  No.  1020.  Published  by  Froehner,  Gr£au 
Collection,  pi.  clxxiv,  5.  Acc.  No.  17.194.20. 


65  Carnelian  Scarab.  Three  horses  in  full  front; 
no  attempt  is  made  to  represent  the  hind  legs  of  the 
horses.  The  representation  is  surrounded  by  a  single 
line. 

This  is  an  excellent  example  of  the  class  of  scarabs 
described  on  p.  52  f.  as  prevalent  in  Italy  from  the  end  of 
the  fifth  to  the  beginning  of  the  third  century.  The  repre¬ 
sentation  is  cursorily  executed,  largely  with  the  round 
drill;  but  the  effect  of  the  whole  is  very  decorative,  owing 
to  the  brilliant  polish  of  the  stone  and  the  beautiful  carv¬ 
ing  of  the  beetle,  which  is  worked  in  great  detail  and  rests 
on  a  base  ornamented  with  shaded  lines.  For  a  design 
similar  to  ours  cf.  Furtwangler,  Berl.  Kat.,  No.  241. 

%  in.  x  Vi  in.  (19.84  mm.  x  15.87  mm.);  Th.  %  in.  (12.3  mm.). 
Purchased,  1919.  Unpublished.  In  excellent  preservation. 
Acc.  No.  19.58. 


66  Blue  Glass  Scarab.  A  warrior  is  advancing  to 
the  right,  armed  with  a  helmet,  a  spear,  and  a  shield. 
The  representation  is  surrounded  by  a  single  line.  The 
beetle  is  carelessly  executed.  Etruscan  work,  probably 
of  the  fourth  century  B.  C.,  of  the  same  style  as  the  pre¬ 
ceding,  worked  largely  with  the  round  drill. 

For  similar  representations  of  warriors  cf.  Furtwangler, 
Berl.  Kat.,  Nos.  247  ff. 

414i  in.  X  %  in.  (16.27  mm-  x  1 i*9i  mm.);  Th.  %  in.  (8.33  mm.). 
Gr£au  Collection,  No.  1018.  Published  by  Froehner,  Gr£au 
Collection,  pi.  clxxiv,  3  and  6.  Acc.  No.  17.194.24. 


58  CATALOGUE  OF  ENGRAVED  GEMS 

67  Front  of  a  Black  Glass  Scarab.  Two  men  facing 
each  other;  on  the  ground  are  a  shield  and  a  sword. 
Etruscan,  probably  of  the  fourth  century  B.  C.,  of  the 
same  style  as  No.  65,  with  no  detail  work  and  worked 
largely  with  the  round  drill.  Compare  Furtwangler, 
Berl.  Kat.,  No.  245. 

%  in.  x  %  in.  (17.86  mm.  x  14.29  mm.);  Th.  %  in.  (4.36  mm.). 
Greau  Collection,  No.  1059.  Published  by  Froehner,  Greau 
Collection,  pi.  clxxiv,  45.  The  back  of  the  scarab  has  been  cut 
away.  Acc.  No.  17.194.23. 

68  Brown  Glass  Scarab.  Dog  crouching,  to  left. 
The  representation  is  surrounded  by  a  single  line.  The 
beetle  is  carelessly  executed.  Etruscan  work,  probably 
of  the  fourth  century  B.  C.,  of  the  same  style  as  No. 
65,  worked  largely  with  the  round  drill. 

2%  in.  x  3%  in.  (9.92  mm.  x  13.89  mm.);  Th.  %>  in.  (7.14  mm.). 
Greau  Collection,  No.  1016.  Published  by  Froehner,  Greau 
Collection,  pi.  clxxiv,  1.  Acc.  No.  17. 194. 21. 

69  Carnelian  Scarab.  Demon  with  the  upper  part 
human  and  ending  below  in  two  dogs  (Skylla  ?).  The  rep¬ 
resentation  is  surrounded  by  a  single  line.  Etruscan  work 
of  the  same  style  as  No.  65,  executed  largely  with  the  round 
drill. 

For  similar  representations  cf.  Furtwangler,  A.  G.,  pi. 
xix,  69,  and  the  stones  there  mentioned. 

%.  in.  x  %  in.  (7.14  mm.  x  10.32  mm.);  Th.  %  in.  (5.95  mm.). 
Purchased,  1895.  Unpublished.  Slightly  chipped  on  the  edge. 
Acc.  No.  G.  S.  221. 


Plate  25 


HELLENISTIC  PERIOD 

THIRD  AND  SECOND  CENTURIES  B.  C. 

In  the  preceding  centuries  we  have  been  able  to  trace  a 
stylistic  development  along  clear  and  definite  lines.  After 
the  fourth  century  this  is  no  longer  possible.  There  are 
indeed  certain  distinct  tendencies  which  characterize 
the  various  schools  of  the  period;  but  we  miss  the  homo¬ 
geneity  and  the  consecutive  progress  which  distinguished 
Greek  art  from  the  seventh  to  the  fourth  century  B.  C. 
It  is  therefore  more  difficult  to  assign  definite  dates  to 
the  products  of  this  period.  Generally  it  is  not  possible 
to  place  Hellenistic  gems  more  precisely  than  in  the  long 
period  of  the  third  and  the  second  century  B.  C. ;  and 
often  it  is  even  difficult  to  separate  them  clearly  from  the 
Graeco-Roman  gems  of  the  first  century  B.  C.,  which  fol¬ 
lowed  so  directly  in  the  footsteps  of  later  Hellenistic 
art. 

The  style  and  choice  of  subjects  of  these  Hellenistic 
gems  are  the  same  as  those  familiar  to  us  from  the  sculp¬ 
ture  of  the  period.  The  stylistic  tendencies  introduced 
in  the  fourth  century  by  Skopas,  Praxiteles,  and  Lysippos 
are  carried  further,  sometimes  to  the  point  of  exaggera¬ 
tion.  We  accordingly  have  works  which  display  great 
intensity  of  feeling,  or  exaggerated  softness,  or  strong 
realism.  Or  again  we  find  conscious  imitation  of  the 


59 


60  CATALOGUE  OF  ENGRAVED  GEMS 

fifth-century  style  or  of  the  archaic  style  of  the  sixth  cen¬ 
tury;  for  the  Hellenistic  period,  and  even  more  the  Graeco- 
Roman  period  which  succeeded  it,  had  not  the  strongly 
creative  impulse  which  distinguished  earlier  Greek  art. 
Nevertheless,  the  Hellenistic  artists  were  full  of  vitality 
and,  given  the  starting  point,  they  were  able  to  proceed 
independently  and  produce  works  of  an  impetuous  force 
and  individuality  entirely  their  own. 

A  great  change  takes  place  in  the  shape  of  the  stones  in 
this  period.  Instead  of  the  perforated  scarabs  and  scara- 
boids  of  the  preceding  centuries  the  unperforated  ring- 
stone,  generally  flat  on  one  side  and  convex  on  the  other, 
becomes  the  accepted  form.  It  was  intended  to  be  worn 
set  in  a  ring,  no  longer  fastened  on  a  swivel.  The  repre¬ 
sentation  is  placed  preferably  on  the  convex  side,  the  rich¬ 
ness  and  depth  thereby  attainable  appealing  strongly  to 
Hellenistic  taste.  A  few  older  shapes  naturally  survive 
in  sporadic  instances,  but  they  are  rare.  The  stones  are 
often  of  considerable  size  and  the  large  rings  in  which 
they  were  mounted  are  not  uncommonly  preserved.  To 
prevent  too  great  weight  these  rings  are  frequently  made 
hollow.  For  the  types  of  rings  prevalent  during  this 
period  cf.  Marshall,  Cat.  of  Finger  Rings  in  the  Brit. 
Mus.,  pp.  xlii  and  xliii. 

The  favorite  stones  are  the  hyacinth,  garnet,  beryl, 
topaz,  amethyst,  rock  crystal,  carnelian,  sard,  agate,  and 
sardonyx,  many  of  them  introduced  into  the  Greek  world 
from  the  East  after  the  conquests  of  Alexander  the  Great. 
Chalcedony,  the  prevailing  stone  of  the  fifth  and  fourth 
centuries,  still  occurs,  but  is  no  longer  common.  Glass, 
as  a  substitute  for  more  precious  material,  is  often  used, 
especially  of  brownish  tints. 

A  great  technical  innovation  introduced  in  this  period 
is  the  cameo,  in  which  the  representation,  instead  of  being 


Plate  26 

NO.  77 


Serapis 


ROCK  CRYSTAL 


HELLENISTIC  PERIOD  6l 

engraved  in  the  surface  of  the  gem,  is  carved  in  relief. 
These  cameos  naturally  did  not  serve  for  seals  as  did  the 
intaglios,  but  were  used  purely  for  decorative  purposes 
in  rings  as  well  as  on  such  objects  as  vases,  utensils, 
musical  instruments,  and  jewelry.  The  custom  was 
clearly  derived  from  the  Orient  and  is  another  instance 
of  the  increasing  love  of  luxury  which  began  to  pervade 
Greek  society.  But  while  the  eastern  people  were  mostly 
content  to  use  plain  precious  stones  for  such  decoration, 
the  Greeks  characteristically  preferred  to  give  them  form 
and  meaning  by  ornamenting  them  pictorially.  The 
material  used  for  these  cameos  is  mostly  sardonyx,  the 
different  layers  of  which  lent  themselves  specially  well 
to  such  treatment.  The  substitution  of  glass  is  frequent. 

Of  the  subjects  in  use  on  gems  of  the  Hellenistic  period 
the  most  important  is  the  portrait,  which  now  acquired 
great  popularity.  Portraits  of  kings  and  princes,  as  well 
as  of  private  individuals,  became  popular.  In  these  it  is 
noteworthy  that  the  bust  form  as  well  as  the  head  is  used. 
Scenes  from  daily  life  are  not  unusual,  while  among  myth¬ 
ological  subjects  Dionysos  and  Aphrodite  and  their  follow- 
ers  Satyrs,  Eros,  Psyche,  and  Hermaphrodite — are 
favored.  Apollo  and  Artemis  are  not  uncommon,  and 
Egyptian  divinities,  like  Isis  and  Serapis,  now  make  their 
appearance.  The  head  of  Medusa  is  another  favorite 
subject.  The  less  important  gems  have  minor  repre¬ 
sentations  such  as  vases,  utensils,  animals,  masks,  heads, 
and  symbols;  and  these  are  not  easily  distinguishable 
from  similar  gems  of  the  Graeco-Roman  period. 

A  number  of  gem-cutters  of  this  period  are  known  to  us 
by  their  signatures  (cf.  p.  xxxviii  f.). 

70  Brown  Glass  Paste,  set  in  a  gilt-bronze  ring. 
Apollo  playing  the  lyre.  He  wears  a  himation  around 


62  CATALOGUE  OF  ENGRAVED  GEMS 

the  lower  part  of  his  body  and  has  a  quiver  hanging  on  his 
back;  by  his  side  is  a  column. 

This  and  the  three  following  gems  are  excellent  illustra¬ 
tions  of  the  exaggerated  softness  apparent  in  some  Hellen¬ 
istic  work.  The  overemphasized  curve  of  the  figures,  the 
elongated  proportions,  and  the  almost  flabby  modeling, 
show  the  innovations  of  the  fourth  century  carried  to  ex¬ 
tremes.  This  style  of  work  occurs  mostly  on  such  large 
convex  stones,  and  seems  to  have  been  produced  by  a 
special  school,  as  the  execution — cursory  yet  dextrous — is 
similar  throughout.  Compare  the  representations  in 
Furtwangler,  A.  G.,  pi.  xxxiv,  passim.  They  can  be 
dated  in  the  1 1 1-1 1  century  B.  C. 

(As  set)  \%  in.  x  %  in.  (34.92  mm.  x  18.65  rnm.).  Greau  Col¬ 
lection,  No.  1038.  Published  by  Froehner,  Greau  Collection, 
pi.  clxxiv,  24.  The  glass  paste  is  considerably  cracked  and 
chipped.  Convex  on  the  engraved  side  and  strongly  oval. 
A  piece  of  the  ring  is  missing  and  has  been  restored,  and  parts  of 
the  gilding  of  the  bronze  have  disappeared.  Acc.  No.  17.194.25. 

71  Brown  Glass  Paste.  Aphrodite  partly  draped, 
supporting  her  left  arm  on  a  column  and  holding  a  flower 
in  her  right  hand.  The  workmanship  is  the  same  as  in  the 
preceding. 

For  a  similar  representation  cf.  Furtwangler,  Berl. 
Kat.,  No.  1047. 

1  Yi  in.  x234  in.  (31.75  mm.  x  16.67  mm.);  Th.  %  in.  (5.56  mm.). 
Greau  Collection,  No.  1039.  Published  by  Froehner,  Greau 
Collection,  pi.  clxxiv,  25.  Convex  on  the  engraved  side.  Chipped 
in  places.  Acc.  No.  17.194.26. 

72  Brown  Glass  Paste  set  in  a  gilt-bronze  ring. 
Figure  of  Aphrodite  in  a  pose  similar  to  the  preceding 
but  reversed,  supporting  her  right  arm  on  a  column  and 
holding  up  her  drapery  in  both  hands.  For  the  workman¬ 
ship  see  No.  70. 


Plate  27 


82  (enlarged) 


Hellenistic  period  63 

(Asset)  iM  in.  x  %  in.  (31.75  mm.  x  17.86  mm.).  Greau  Col¬ 
lection,  No.  1040.  Published  by  Froehner,  Greau  Collection, 
pi.  clxxiv,  26.  Convex  on  the  engraved  side.  The  gilt  of  the 
ring  has  largely  disappeared.  Acc.  No.  17.194.27. 

73  Banded  Carnelian 
Ringstone.  Aphrodite  in  a  pose 
similar  to  No.  71,  holding  a  fan. 

Fair  Hellenistic  work  of  the 
1II-II  century  B.  C.  The  work¬ 
manship  is  like  that  of  No.  70. 

For  a  similar  representation 
cf.  Furtwangler,  A.  G.,  pi.  xxxiv, 

40. 

in.  x  %  in.  (25  mm.  x  13.49  mm.);  Th.  %  in.  (2.78  mm.). 
King  Collection,  No.  207.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  xxxv,  6;  Osborne,  Engraved  Gems,  pi. 
xiv,  3;  illustrated,  King,  Precious  Stones,  p.  169.  Convex  on  the 
engraved  side  and  strongly  oval.  A  piece  from  the  lower  part  is 
missing.  Acc.  No.  81.6.15. 

74  Blue  Glass  Paste.  The  head  and  shoulders  of  a 
Nereid,  represented  swimming.  Her  hair  is  loose  and 
part  of  her  garment  is  shown  around  her  upper  arm.  Good 
Hellenistic  work,  with  a  fine  flow  of  line. 

There  are  numerous  replicas  of  this  type  on  gems  of 
this  period  (cf.  references  given  by  Furtwangler,  A.  G., 
text  to  pi.  xxxv,  13);  and  also  a  considerable  number  of 
modern  imitations  (cf.  e.  g.,  Dalton,  Post-Classical  Gems, 
pi.  xxvii,  745,  746).  It  used  to  be  called  Leander,  but 
clearly  represents  a  Nereid.  Furtwangler  would  identify 
the  Nereid  as  Galene,  from  the  description  of  a  gem  by 
Tryphon  in  the  Greek  Anthology,  IX,  544: 

“Tryphon  coaxed  me,  the  Indian  beryl,  to  be  Galene, 
the  goddess  of  Calm,  and  with  his  soft  hands  let  down  my 
hair.  Look  at  my  lips  smoothing  the  liquid  sea,  and  my 


64  CATALOGUE  OF  ENGRAVED  GEMS 

breasts  with  which  I  charm  the  windless  waves.  Did  the 
envious  stone  but  consent,  you  would  soon  see  me  swim¬ 
ming,  as  I  am  longing  to  do.”  (W.  R.  Paton’s  transla¬ 
tion  in  the  Loeb  Classical  Library.) 

It  will  be  seen  that  the  description  does  not  correspond 
in  all  details  with  the  figure  on  our  gem,  so  that  Furt- 
wangler’s claim  that  Tryphon  is  the  originator  of  this  type 
is  hardly  justified;  but  it  is  of  course  quite  possible  that 
Tryphon’s  composition  formed  the  starting  point  of 
other  adaptations  of  the  subject. 

%  in.  x  %  in.  (22.62  mm.x  17.46  mm.);  Th.  %,  in.  (7.14  mm.). 
Greau  Collection,  No.  1025.  Published  by  Froehner,  Greau 
Collection,  pi.  clxxiv,  11.  Convex  on  both  sides.  Acc.  No. 
17.194.28. 

75  Sard  Ringstone.  Similar  representation  to  the 
preceding.  Good  execution. 

3%  in.  x  %  in.  (13.89  mm.  x  13.49  mm.);  Th.  %  in.  (1.98  mm.). 
King  Collection,  No.  87.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  xiii,  6;  Hdbk.  of  Engraved  Gems,  pi. 
lxxv,  2.  Slightly  convex  on  the  engraved  side.  The  lower  part 
of  the  stone  is  missing  and  there  is  a  largish  chip  on  the  upper 
side;  the  stone  is  somewhat  blanched  by  fire.  Acc.  No.  81.6.16. 

76  Banded  Jasper  Ringstone.  Similar  representa¬ 
tion  to  the  two  preceding.  Good  execution. 

%  in.  x  %  in.  (13.49  mm.  x  10.71  mm.);  Th.  yg  in.  (3.17  mm.). 
King  Collection,  No.  86.  Unpublished.  Slightly  convex  on 
both  sides.  A  piece  from  the  upper  part  of  the  stone  is  missing. 
Acc.  No.  81.6.17 

77  Rock  Crystal  Ringstone.  A  bust  of  Serapis 
in  full-front  view,  with  indication  of  chiton  and  mantle, 
and  wearing  a  tall  head-dress  ( kalathos ).  The  type  is 
noble  and  dignified,  and  the  execution  is  full  of  life. 

For  similar  representations  cf.  Furtwangler,  A.  G.,  pi. 
xxxiii,  28,  and  the  references  cited  in  the  text.  Serapis, 


V 


HELLENISTIC  PERIOD 


65 


an  Egyptian  deity  whose  worship  was  introduced  into 
Greece  and  Rome  in  Ptolemaic  times,  was  the  god  of  the 
underworld,  the  sun-god,  and  the  god  of  healing;  he  be¬ 
came  identified  with  the  Greek  Zeus  and  Hades,  and  is 
often  represented  with  their  attributes  (cf.  Nos.  129,  130, 
346). 

5J4  in.  x%  in.  (20.24  mm.  x  16.67  mm.);  Th.  %  in.  (7.94  mm.). 
King  Collection,  No.  79.  Unpublished.  The  surface  is  some¬ 
what  scratched  and  worn.  Convex  on  both  sides.  Acc.  No 
81.6.18. 


78  Sard  Ringstone.  Head  of  Herakles  in  profile 
to  right;  he  is  bearded  and  wears  a  laurel  wreath.  Spirited 
but  not  very  finished  work,  probably  of  the  Hellenistic 
period. 

For  similar  representations  cf.  Furtwangler,  A.  G.,  pi. 
xli,  35  and  37,  and  Berk  Kat.,  Nos.  6960  ff.  This  type  of 
bearded  Herakles  became  popular  in  Hellenistic  and  Ro¬ 
man  art  from  the  third  century  B.  C.  on;  it  may  have  been 
influenced  by  the  creations  of  Lysippos  (cf.  Furtwangler 
in  Roscher’s  Lexikon,  under  Herakles,  cols.  2169  and 
2178). 

%  in.  x%  in.  (13.89  mm.  x  14.68  mm.);  Th.  %,  in.  (3.97  mm.). 
King  Collection,  No.  217.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  p.  37.  Slightly  convex  on  both  sides.  A  piece 
from  the  top  is  missing.  Acc.  No.  8 1 .6. 1 9. 

79  Purple  Glass  Paste.  Head  of  bearded  Herakles 
in  profile  to  left,  similar  to  the  preceding.  The  surface 
is  so  much  corroded  that  it  is  difficult  to  judge  of  the  mod¬ 
eling  and  decide  whether  it  is  a  work  of  the  Hellenistic 
or  Graeco-Roman  period. 

%  in.  x  4%  in.  (20.64  mm.  x  17.86  mm.);  Th.  %  in.  (4.36  mm.). 
Greau  Collection,  No.  1030.  Published  in  Froehner,  Gr6au 
Collection,  pi.  clxxiv,  16.  Acc.  No.  17.194.29. 


66  CATALOGUE  OF  ENGRAVED  GEMS 

8o  Sard  Ringstone.  The  figure  of  a  girl  standing  in 
profile  to  right;  she  wears  a  chiton  and  a  himation  and 
holds  a  jug  in  one  hand.  Fair  work  of  the  Hellenistic 
period,  copied  probably  from  a  fifth-century  model. 
[Illustrated  on  pi.  24.] 

There  are  a  number  of  replicas  of  this  subject;  cf.  Furt- 
wangler,  A.  G.,  pi.  xxxix,  26,  27,  and  the  references  given 
in  the  text.  In  some  of  these  representations  the  mouth 
of  a  fountain  is  added;  so  that  we  must  interpret  the  scene 
on  our  gem  also  as  a  girl  drawing  water.  The  fine  sim¬ 
plicity  of  the  conception  and  com¬ 
position  is  in  the  fifth-century  spirit. 

%  in.  x  %  in.  (21.43  mm.  x  10.71  mm.); 
Th.  in.  (3.57  mm.).  King  Collection, 
No.  90.  Unpublished.  Convex  on  both 
sides.  Acc.  No.  81.6.20. 

81  Massive  Gold  Ring,  with  large 
oval  bezel.  On  the  bezel  is  engraved 
the  head  of  Alexander  the  Great  in 
the  guise  of  Herakles,  wearing  the  lion’s  skin.  The  bold 
execution  is  characteristic  of  the  Hellenistic  period. 

The  type  occurs  on  coins;  cf.  Cat.  of  Grk.  Coins  in  the 
Brit.  Mus.,  Cilicia,  pi.  xxix,  6.1 

D.  of  hoop,  1  ffe  in.  (26.99  rnm.);  L.  of  bezel,  in.  (25  mm.); 
Wt.  6iiF£  grains  (39.62  grammes).  Purchased,  1910.  From 
Sovana  in  the  Maremma.  Unpublished.  Acc.  No.  10. 1 32.1. 
(In  Gallery  II :  C  32.) 

82  Green  Glass  Cameo.  Head  of  Medusa  in  three- 
quarters  view,  with  wings  and  two  serpents  in  her  hair. 
The  execution  is  excellent,  the  expression  of  pathos  being 
conveyed  with  much  feeling. 

The  “pathetic”  type  of  Medusa  is  a  creation  of  the 

This  reference  I  owe  to  Mr.  E.  T.  Newell. 


Plate  28 


83  (enlarged) 


HELLENISTIC  PERIOD  67 

Hellenistic  period  and  stands  in  characteristic  contrast 
to  the  quiet,  impersonal  conception  of  the  fifth  and  fourth 
centuries.  The  three-quarters  view,  instead  of  the  old 
front  view,  was  generally  chosen  as  more  effective  for 
the  rendering  of  grief.  For  a  discussion  of  this  type  cf. 
Furtwangler  in  Roscher’s  Lexikon,  under  Gorgones,  col. 
1 724  f.  One  of  the  finest  representations  of  it  is  a  cameo 
in  the  Berlin  Museum,  Furtwangler,  A.  G.,  pi.  lii,  6. 

1%  in.  x  %  in.  (25.8  mm.  x  23.02  mm.);Th.  Jf6in.  (11.11  mm.). 
Purchased,  1911.  From  the  collection  of  Sir  Arthur  J.  Evans. 
Found  in  Cappadocia  in  1889.  Described,  Museum  Bulletin, 
1912,  p.  98.  Chipped  in  places;  a  piece  has  been  broken  off  at 
the  top  and  reattached.  Acc.  No.  1 1.195.5. 

83  Fragment  of  a  Sardonyx  Cameo,  representing  a 
Nereid  riding  on  a  Triton.  The  figures  are  in  opaque 
white  against  a  yellowish  transparent  background;  they 
are  beautifully  modeled  with  great  muscular  detail  in  the 
brilliant  style  of  the  Hellenistic  period. 

The  Triton  bears  a  strong  resemblance  to  some  of  the 
figures  on  the  reliefs  of  the  Great  Altar  at  Pergamon.  The 
probable  date  of  our  cameo  is  therefore  the  second  cen¬ 
tury  B.  C.  It  ranks  among  the  finest  cameos  of  its  period 
known. 

1  in.  x  1%  in.  (26.19  mm.  x  31.15  mm.);  Th.  %  in.  (4.76 
mm.).  Purchased,  1906.  Published  by  E.  R(obinson),  Mu¬ 
seum  Bulletin,  1907,  p.  123-4,  No.  11,  fig.  3.  Acc.  No.  06.1205. 


ITALIC  GEMS 

THIRD  TO  FIRST  CENTURY  B.  C. 

We  have  seen  that  the  gems  prevalent  in  Etruria  and 
elsewhere  in  Italy  during  the  fourth  century  B.  C.  con¬ 
sisted  of  scarabs  roughly  worked  with  a  round  drill.  In 
the  third  and  second  centuries  these  were  superseded  by 
another  class  of  gems  which  are  of  special  interest  to  us  in 
that  they  form  an  important  source  of  knowledge  for  the 
early  Roman  art  of  the  Republican  period.  By  the  middle 
of  the  third  century  B.  C.  Rome  had  after  long  struggles 
subjugated  the  whole  of  Italy;  but  being  culturally  on  a 
much  lower  plane  than  both  Etruria  and  the  Greek  col¬ 
onies  of  South  Italy,  her  sway  meant  an  artistic  retrogres¬ 
sion.  Not  having  enough  originality  herself,  she  adopted 
the  styles  of  her  neighbors.  We  can  accordingly  distin¬ 
guish  two  distinct  styles,  one  imitating  Etruscan  art,  the 
other  Hellenistic  art. 

I 

Etruscanizing  Group 

The  gems  of  this  class  show  a  strong  dependence  on 
Etruscan  art  both  in  style  and  motive,  and  thus  bear  in¬ 
teresting  evidence  to  the  important  part  played  by  Etrus¬ 
can  culture  in  the  Roman  world  at  this  period.  Being 
purely  imitative,  there  is  of  course  no  organic  develop¬ 
ment  traceable  in  these  gems;  both  the  archaic  and  the 

68 


ITALIC — E  T  R  U  S  C  A  N  I  Z  I  N  G  GROUP  69 

fully  developed  styles  are  copied  with  more  or  less  success, 
and  with  a  certain  superficial  dexterity  in  the  technique; 
but  always  in  the  rather  dry,  unimaginative  manner  pe¬ 
culiar  to  Roman  work. 

Though  a  few  gems  belonging  to  this  group  still  retain 
the  scarab  shape,  the  large  majority  are  ringstones  of  the 
form  introduced  in  the  Greek  world  in  Hellenistic  times. 
Many  characteristics  of  the  former  scarabs  are,  however, 
retained.  The  side  of  the  ringstone  on  which  the  en¬ 
graving  was  worked  is  almost  flat,  the  engraving  occupies 
almost  the  entire  field,  and  a  border  is  often  used. 

The  most  popular  stone  of  this  group  is  the  agate;  the 
carnelian  and  sard  are  also  common,  and  the  chalcedony, 
nicolo,  and  aquamarine  occur  occasionally.  Very  fre¬ 
quent  is  the  use  of  glass  instead  of  stone.  Incidentally 
this  shows  how  wide-spread  the  custom  of  sealing  had 
become;  for  all  those  who  could  not  afford  to  have  their 
seals  in  hard  stone  had  to  take  recourse  to  this  cheap 
substitute. 

The  inscriptions  now  no  longer  refer  to  the  person  repre¬ 
sented,  as  in  the  Etruscan  scarabs,  nor  do  they  give  the 
name  of  the  artist,  as  in  the  Greek  gems.  The  only  con¬ 
cern  of  the  practical  Roman  was  to  whom  the  seal  be¬ 
longed,  and  accordingly  the  inscriptions  invariably  give 
the  name  of  the  owner.  They  are  in  Latin,  Greek,  or 
Etruscan  characters.  The  style  of  the  letters  suggests 
that  the  great  majority  of  these  inscribed  stones  belong  to 
the  second  century  B.  C. 

In  the  representations  the  engravers  of  these  gems 
largely  borrowed  from  the  material  used  by  the  Etruscans 
on  their  scarabs.  Heroes  were  particularly  popular,  es¬ 
pecially  those  from  the  Theban  and  Trojan  legends. 
Some  scenes,  though  evidently  derived  from  mythological 
prototypes,  are  not  sufficiently  individualized  to  admit 


70  CATALOGUE  OF  ENGRAVED  GEMS 

of  special  identification.  Among  these,  wounded  warriors 
are  particularly  common;  also  horsemen  and  warriors 
arming.  Artisans  working  at  armor,  or  ships  or  vessels  are 
also  popular.  They  can  often  be  identified  with  special 
mythological  persons,  such  as  Daidalos  or  Argos.  Prome¬ 
theus  fashioning  man  enjoys  considerable  popularity. 

Besides  heroic  legends,  religious  subjects  play  an  im¬ 
portant  part,  particularly  sacrificial  scenes  and  consulta¬ 
tion  of  oracles.  A  very  common  and  curious  representa¬ 
tion  is  a  human  head  emerging  from  the  ground,  evidently 
in  the  act  of  soothsaying,  surrounded  by  one  or  more 
persons.  This  can  probably  be  traced  to  the  Orphic 
mysteries  which  found  their  way  into  Roman  religion 
(cf.  Furtwangler,  A.  G.,  Ill,  pp.  245  ff.). 

84  Carnelian  Ringstone.  Ajax  carrying  the  dead 
Achilles,  who  has  an  arrow  in  his  left  foot;  both  wear  hel¬ 
mets  and  cuirasses;  on  the  ground  is  a  shield. 

This  subject  is  popular  on  gems  of  this  class;  cf.  Furt¬ 
wangler,  A.  G.,  Ill,  p.  232,  and  pi.  xxiii,  45-47.  It  is 
familiar  from  black-figured  Athenian  vases  (cf.,  e.  g., 
British  Museum  B.  172,  279,  and  Berlin  Museum,  No. 
1802;  also  the  references  given  in  Overbeck,  Galerie  hero- 
ischer  Bildwerke,  p.  546,  and  Fleischer  in  Roscher’s 
Lexikon,  under  Achilles,  col.  5  1). 

%  in.x  %  in. (14.68  mm.  x  1 1.5 1  mm.);  Th.  -ff6  in.  (14.29  mm.). 
King  Collection,  No.  249.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  lxvi,  1;  Ant.  Gems  and  Rings,  II,  woodcuts, 
pi.  xliii,  9;  mentioned  by  Furtwangler,  A.  G.,  text  to  pi.  xxiii, 
46;  illustrated,  King,  Precious  Stones,  p.  287.  Slightly  convex 
on  the  engraved  side.  Acc.  No.  81.6.21. 

85  Carnelian  Ringstone.  The  wounded  Spartan 
hero  Othryades  writing  the  word  VIC1  (“I  conquered”) 
on  a  shield  of  the  trophy  he  erected  before  dying.  He  is 


Plate  30 


103 


104 


ITALIC — ETRUSCANIZING  GROUP  71 

nude  and  has  a  helmet  and  a  shield.  In  the  field  is  the 
inscription  ICIN. 

Another  common  subject  on  gems  of  this  class;  for  a 
discussion  of  it  cf.  Furtwangler,  A.  G.,  Ill,  p.  236;  for 
other  representations  of  it  cf.  Furtwangler,  op.  cit.,  pi. 
xxiii,  1,  5,  8-14. 

%in.  x  %  in.  (15.08  mm.  x  1 1. 11  mm.);  Th.  %  in.  (2.78  mm.). 
King  Collection,  No.  244.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  copperplates,  first  group,  V,  51.  Slightly  convex  on 
the  engraved  side.  Acc.  No.  81.6.22. 

86  Carnelian  Ringstone.  Warrior  kneeling  on 
one  knee  and  holding  a  spear  in  his  left  hand;  he  wears  a 
chiton,  chlamys,  and  helmet,  and  carries  a  shield  and  a 
sword. 

%  in.  x  %  in.  (17.06  mm.  x  12.3  mm.);  Th.  J4  in.  (3.17  mm.). 
King  Collection,  No.  247.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  Ixvi,  4;  Ant.  Gems  and  Rings,  II,  woodcuts, 
pi.  xlii,  B,  10.  Slightly  convex  on  both  sides.  A  piece  is  missing 
from  the  lower  right-hand  corner.  Acc.  No.  81.6.23. 

87  Carnelian  Ringstone.  A  warrior  is  placing  a 
garland  around  a  column  on  which  is  a  vase;  he  wears 
a  chlamys  and  is  armed  with  a  helmet,  a  shield,  and  a 
spear. 

%in.  x%in.  (13.89  mm.  x  10.71  mm.);Th.  5^  in.  (3.97  mm.). 
King  Collection,  No.  245.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  Ixvi,  5;  Ant.  Gems  and  Rings,  II,  woodcuts, 
pi.  xxxvii,  A,  2;  illustrated,  King,  Precious  Stones,  p.  282. 
Convex  on  both  sides.  Acc.  No.  81.6.24. 

88  Carnelian  Ringstone.  A  man  wearing  a  chlamys 
is  working  with  a  hammer  on  the  prow  of  a  ship  (perhaps 
Argos,  the  builder  of  the  Argo). 

For  similar  representations  cf.  Furtwangler,  A.  G.,  pi. 
xxi,  8,  9. 


72  CATALOGUE  OF  ENGRAVED  GEMS 

%  in.  x  %  in.  (13.89  mm.  x  10.71  mm.);Th.  %,  in.  (2.38  mm.). 
King  Collection,  No.  243.  Published  by  Osborne,  Engraved 
Gems,  pi.  xvii,  16.  Acc.  No.  81.6.25. 

89  Agate  Ringstone.  A  man  wearing  a  chlamys  is 
standing  before  a  herm  and  measuring  with  a  plumb-line. 

For  similar  representations  of  men  measuring  with 
plumb-lines  cf.  Furtwangler,  A.  G.,  pi.  xxi,  7,  and  Berl. 
Kat.,  No.  527. 

•%  in.  x  %  in.  (13.1  mm.  x  10.32  mm.);  Th.  %  in.  (3.17  mm.). 
King  Collection,  No.  206.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  xxviii,  6.  Mentioned  by  Furtwangler,  A.  G., 
text  to  pi.  xxi,  7.  Acc.  No.  81.6.26. 

90  Banded  Agate  Ringstone.  Hermes,  charac¬ 
terized  by  the  kerykeion  and  his  winged  cap,  is  pulling 
up  a  figure  emerging  from  the  ground,  probably  a  dead 
person  whom  he  is  bringing  back  to  life.  Hermes  is 
beardless  and  wears  a  chlamys.  In  the  field  is  the  inscrip¬ 
tion  C.  A.  D.,  referring  to  the  owner  of  the  seal. 

The  subject  is  common  on  gems  of  this  class;  for  a  dis¬ 
cussion  of  its  significance  and  probable  derivation  from 
Pythagorean  doctrines,  cf.  Furtwangler,  A.  G.,  Ill,  pp. 
253  ff.;  for  similar  representations,  cf.  op.  cit.,  pi.  xxi, 
66  ff. 

Vi  in.  x  2^  in.  (12.7  mm.  x  8.33  mm.);  Th.  %  in.  (2.38  mm.). 
King  Collection,  No.  146.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  I xxv,  1;  Ant.  Gems  and  Rings,  II,  woodcuts, 
pi.  xxi,  5  and  copperplates,  second  group,  III,  14;  Miiller-Wiese- 
ler,  Denkmaler,  II,  No.  332;  mentioned  by  Furtwangler,  A.  G., 
text  to  pi.  xxi,  67;  illustrated,  King,  Precious  Stones,  p.  192; 
Ant.  Gems,  pi.  iii,  14.  Slightly  convex  on  the  unengraved  side. 
Chipped  in  places.  Acc.  No.  81 .6.28. 

91  Banded  Agate  Ringstone.  A  man  wearing  a 
chlamys  is  bending  forward  and  writing  on  a  tablet  the 


«.-*  «■■■■ 


Plate  31 


ITALIC — E  T  R  U  S  C  A  N  I  Z  I  N  G  GROUP  73 

auguries  told  him  by  a  head  on  the  ground.  In  the  field 
are  a  star  and  a  crescent.  Around  the  representation  is  a 
cable  border. 

The  subject  of  the  representation  is  evidently  derived 
from  the  Orphic  rites;  for  a  discussion  of  it  cf.  Furtwangler, 
A.  G.,  Ill,  p.  245;  for  similar  representations  cf.  Furt¬ 
wangler,  op.  cit.,  pi.  xxii,  3-6. 

%  in.  x  %  in.  (13. 1  mm.  x  10.71  mm.);  Th.  %  in.  (1.98  mm.). 
King  Collection,  No.  230.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  copperplates,  first  group,  III,  31.  Acc.  No.  81.6.29. 


92  Banded  Agate  Ringstone.  Warrior  consulting 
an  oracle.  He  stands  before  a  column  with  a  serpent 
coiled  around  it  and  a  bird  perched  on  top;  below  is  a 
ram. 

For  similar  representations  cf.  Furtwangler,  A.  G.,  pi. 
xxiv,  10,  11,  16,  17.  Dionysius  of  Halikarnassos,  I,  14, 
speaks  of  the  old  oracle  of  Mars  at  Tiora  where  a  wood¬ 
pecker,  sitting  on  a  wooden  column,  gives  out  oracles. 
It  is  probable  that  we  have  here  a  representation  of  such 
an  oracle.  The  ram  can  be  explained  as  a  sacrificial 
offering,  and  the  snake  as  a  sacred  animal. 

%  in.  x  %  in.  (13.49  mm.  x  10.32  mm.);  Th.  %>  in.  (2.38  mm.). 
King  Collection,  No.  248.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  xlii,  B,  7;  illustrated,  King,  Precious 
Stones,  p.  143.  Several  pieces  around  the  edge  are  missing. 
Acc.  No.  81.6.30. 

93  Yellow  Glass  Paste.  Similar  representation 
to  the  preceding,  but  less  carefully  executed. 

Dimensions  of  field  with  representation:  %  in.  x  %  in.  (1 1.91 
mm.  x  9.52  mm.).  Greau  Collection,  No.  1048.  Published  by 
Froehner,  Gr£au  Collection,  pi.  clxxiv,  34.  Somewhat  chipped 
on  the  lower  side;  the  edges  have  not  been  trimmed.  Acc.  No. 
17.194.30. 


74  CATALOGUE  OF  ENGRAVED  GEMS 
Hellenizing  Group 

The  gems  of  this  class  show  their  derivation  not  from 
Etruscan  art,  like  the  preceding  group,  but  from  Greek 
art  of  the  Hellenistic  period.  The  point  of  contact  was 
Campania,  which  after  the  end  of  the  fourth  century  was 
in  close  touch  with  Rome.  The  Campanians  were  a 
sturdy,  free  people  whose  joyous  temperament  made  them 
very  receptive  to  Greek  culture.  But  though  this  Hellen¬ 
izing  style  probably  originated  in  Campania,  it  seems  to 
have  spread  through  the  whole  of  central  and  southern 
Italy.  In  contrast  to  the  preceding  group  we  note  a  pre¬ 
ference  for  round  plastic  forms.  There  is  no  longer  any 
harking  back  to  the  severe,  archaic  style;  contemporary 
motives  and  ideas  are  adopted.  The  execution  is  generally 
facile,  but  rarely  of  great  artistic  merit.  For  dating  these 
gems  a  comparison  with  the  coins  of  the  period  is  of  im¬ 
portance,  since  in  a  number  of  cases  similar  designs  are 
found  on  both. 

As  in  the  Greek  Hellenistic  gems,  the  stones  of  this  class 
are  often  convex,  though  flat  ones  occur  not  infrequently; 
they  are  never  perforated,  and  were  always  designed 
to  be  set  in  rings.  In  spite  of  the  intimate  connection 
with  Hellenistic  art,  cameos  are  unknown  in  this  group. 

The  favorite  materials  are  sard  and  carnelian;  agate, 
jasper,  and  amethyst  were  used  occasionally,  and  glass  is 
very  common. 

The  inscriptions  refer,  as  in  the  preceding  class,  to  the 
owner  of  the  seals.  They  are  generally  in  Latin,  some¬ 
times  in  Greek,  and  occasionally  in  Oscan  or  Etruscan 
letters.  The  names  are  mostly  not  written  in  full,  only  a 
few  letters  being  considered  sufficient  for  identification. 
The  style  of  the  letters  is  paralleled  on  Roman  coins  of  the 
second  half  of  the  third  and  the  second  century  B.  C. 

The  designs  on  these  gems  are  characteristic  of  their 


Plate  32 


ITALIC  —  HELLENIZING  GROUP  75 

origin.  Instead  of  the  heroic  and  religious  subjects  preva¬ 
lent  on  the  Etruscanizing  group,  Erotic  and  Bacchic  fig¬ 
ures  are  popular.  Eros,  Aphrodite,  Dionysos,  Satyrs,  and 
Seilenos  are  all  represented  as  we  see  them  in  Hellenis¬ 
tic  art,  and  in  similar  motives.  Other  common  subjects 
are  Fortuna,  Nike,  Isis,  and  the  Muses.  The  favorite 
hero  is  Herakles;  but  he  is  not  often  represented  as  in 
earlier  art,  performing  great  deeds,  but  more  according  to 
the  taste  of  the  time;  for  instance,  as  seated,  or  drunken, 
or  subdued  by  Eros.  We  have  a  number  of  representa¬ 
tions  of  Trojan  heroes.  Among  other  legendary  figures 
should  be  mentioned  Perseus,  Marsyas,  and  the  national 
hero,  Marcus  Curtius. 

Besides  mythological  scenes,  subjects  taken  from  daily 
life  also  occur.  Such  are  portrait-heads,  horsemen,  hunts¬ 
men,  fishermen,  athletes,  and  especially  actors;  likewise 
animals  and  simple  objects  and  utensils.  The  fantastic 
combinations  later  referred  to  as  grylloi,  which  first  ap¬ 
pear  on  the  early  Carthaginian  gems  (cf.  p.  34  f.),  are 
sometimes  found  on  gems  of  this  group. 

94  Brown  Glass  Paste.  Odysseus,  as  a  beggar  on 
his  return  to  his  home;  he  is  leaning  on  his  staff,  and  wears 
a  tunic  and  a  pilos;  at  his  side  hangs  a  sword. 

For  similar  representations  on  gems  of  this  period  cf. 
Furtwangler,  A.  G.,  pi.  xxvii,  45  ff.  Odysseus  leaning 
on  his  staff  was  the  symbol  of  the  Mamilia  Gens,  who 
claimed  descent  from  Telegonus,  the  reputed  son  of  Odys¬ 
seus  and  Circe.  He  occurs  on  coins  of  L.  Mamilius  (about 
170  B.  C.)  and  C.  Mamilius  Limetanus  (about  84  B.  C.), 
in  much  the  same  attitude  as  on  our  gem  (cf.  H.  A.  Grue- 
ber,  Coins  of  the  Rom.  Republic  in  the  Brit.  Mus.,  I, 
p.  97,  and  E.  Babelon,  Monnaies  de  la  republique  romaine, 
II,  p.  173). 


76  CATALOGUE  OF  ENGRAVED  GEMS 

H  in.  x  %  in.  (15.87  mm.  x  12.3  mm.);  Th.  %  in.  (3.57  mm.). 
Gr6au  Collection,  No.  1049.  Published  by  Froehner,  Gr£au 
Collection,  pi.  clxxiv,  35.  Convex  on  the  engraved  side.  Acc. 
No.  17. 194.31. 


95  Carn elian  Ringstone.  Two  helmeted  horsemen 
routing  two  warriors  on  foot  (the  Dioskouroi  at  the  battle 
of  Regillus?);  one  of  the  warriors  lies  prostrate  on  the 
ground;  the  other  is  protecting  himself  with  his  shield, 
while  his  opponent  is  about  to  launch  a  spear  against  him. 
A  rough  cable  border  surrounds  the  scene.  Spirited,  but 
rather  cursory  execution. 

%in.x%in.  (11.51  mm.  x  17.06  mm.);  Th.  %  in.  (2.38mm.). 
King  Collection,  No.  166.  Published  by  King,  Hdbk.  of 
Engraved  Gems,  pi.  liv,  2;  Ant.  Gems  and  Rings,  II,  wood- 
cuts,  pi.  xl,  2;  Osborne,  Engraved  Gems,  pi.  xviii,  6.  Acc.  No. 
81.6.121. 


96  Opaque  Blue  Glass  Paste,  set  in  a  bronze  bezel. 
Probably  a  fisherman  angling  over  a  parapet.  Rough  ex¬ 
ecution. 

Compare  the  similar  representations  in  Furtwangler, 
A.  G.,  pi.  xxviii,  25  and  30. 

(As  set)  %  in.  x  %  in.  (14.68  mm.  x  10.71  mm.).  Greau  Col¬ 
lection,  No.  1045.  Published  by  Froehner,  Greau  Collection, 
pi.  clxxiv,  31.  Convex  on  the  engraved  side.  Broken  in  several 
pieces  and  reattached;  chipped  around  the  edge.  Acc.  No. 
I7-I94-32- 


97  Opaque  Blue  Glass  Paste.  A  tower  with  five 
soldiers,  of  whom  two  are  the  size  of  the  tower,  three  much 
smaller. 

%  in.  x*%  in.  (17.86  mm.  x  22.62  mm.);  Th.  %  in.  (3.57  mm.). 
Gr£au  Collection,  No.  1057.  Published  by  Froehner,  Gr£au 
Collection,  pi.  clxxiv,  43.  Slightly  convex  on  the  unengraved 
side.  Broken  in  two  pieces  and  reattached.  Acc.  No.  17.194.50. 


Plate  33 

NO.  Il8 


Sculptor 


CARN  ELIAN 


ITALIC  —  HELLEN1ZING  GROUP  77 

98  Almandine  Garnet.  Eros  walking  to  right  carry¬ 
ing  the  weapons  of  Herakles — the  lion’s  skin,  the  club,  the 
bow,  and  the  quiver. 

For  a  similar  representation  cf.  Furtwangler,  A.  G., 
pi.  xxvii,  64. 

%  in.  x  %  in.  (16.27  mm.  x  13. 1  mm.);  Th.  %  in.  (6.35  mm.). 
King  Collection,  No.  175.  Unpublished.  Strongly  convex 
on  the  engraved  side.  The  back  has  been  hollowed  out.  A  piece 
is  missing  from  the  edge.  Acc.  No.  81.6.31. 


99  Brown  Glass  Paste  set  in  a  ring  of  gilt-bronze 
consisting  of  a  plain  hoop  expanding  upward.  On  the 
stone  is  engraved  Eros,  wreathed,  going  to  left,  carrying 
an  amphora  and  a  burning  torch. 

For  similar  representations  cf.  Furtwangler,  Berl.  Kat., 
Nos.  1580,  1581. 

(As  set)  %  in.  x  %  in.  (11.51  mm.  x  11.51  mm.).  Gr£au 
Collection,  No.  1037.  Published  by  Froehner,  Greau  Collec¬ 
tion,  pi.  clxxiv,  23.  Convex  on  the  engraved  side.  The  gilt  on 
the  ring  has  partly  disappeared.  Acc.  No.  17.194.33. 

100  Onyx  Ringstone.  Eros,  holding  a  torch  in  his 
hand,  is  looking  into  a  large  fluted  vase,  out  of  which  a 
skeleton  appears  to  be  falling;  a  branch  is  placed  in  the 
vase.  Good  execution. 

%  in.  x%  in.  (12.3  mm.  x  n.51  mm.);  Th.  %  in.  (1.98  mm.). 
King  Collection,  No.  173.  Formerly  in  the  Nott  Collection. 


78  CATALOGUE  OF  ENGRAVED  GEMS 

Published  by  Furtwangler,  A.  G.,  pi.  xxv,  40;  King,  Hdbk.  of 
Engraved  Gems,  pi.  lxxv,  3;  Ant.  Gems  and  Rings,  II,  woodcuts, 
pi.  xxxvi,  9,  and  copperplates,  first  group.  III,  33;  Osborne, 
Engraved  Gems,  xxvi,  9;  illustrated  in  King,  Precious  Stones, 
p.  374;  mentioned  in  Bullettino  dell’  Instituto,  1831,  vol.  iii,  58. 
Slightly  chipped  on  the  edge.  Acc.  No.  81.6.73. 

10 1  Banded  Agate  Ringstone.  Two  Erotes  stand¬ 
ing  back  to  back  and  holding  up  above  their  heads  a  cir¬ 
cular  vase,  on  the  body  of  which  is  represented  a  horse  in 
full  gallop  with  head  turned  back,  and  a  star  ornament; 
between  the  Erotes  are  represented  strings,  so  that  the 
whole  has  the  form  of  a  lyre. 

For  similar  representations  cf.  Furtwangler,  Berk  Kat., 
Nos.  3829  f. 

%  in.  x  %  in.  (13.89  mm.  x  9.92  mm.);  Th.  %  in.  (2.78  mm.). 
King  Collection,  No.  235.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  lxxv,  5;  Ant.  Gems  and  Rings,  II,  woodcuts, 
pi.  xxxix,  3;  illustrated,  King,  Precious  Stones,  p.  124.  Convex 
on  the  engraved  side,  concave  on  the  other.  Acc.  No.  81.6.32. 


102  Carnelian  Ringstone.  Head  of  Hermes,  profile 
to  right ;  he  is  bearded  and  wears  a  small  winged  hat.  The 
execution  is  unusually  careful. 

For  a  similar  representation  cf.  Furtwangler,  A.  G., 
pi.  xxvi,  29. 

%  in.  x  %  in.  (1 1.51  mm.  x  10.32  mm.);  Th.  %  in.  (2.78  mm.). 
King  Collection,  No.  15 1.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  copperplates,  first  group,  I,  1.  Convex  on  the  en¬ 
graved  side.  Acc.  No.  81.6.34. 

103  Sard  Ringstone.  Helmet  with  vizor  repre¬ 
senting  the  face  of  a  bearded  man;  above,  it  is  decorated 
with  ram’s  horns.  Very  carefully  worked. 

For  similar  representations  cf.  Furtwangler,  A.  G.,  pi. 
xxix,  71,  72. 


Plate  34 


ITALIC  —  HELLENIZING  GROUP  79 

%  in.  x%  in.  (1 1.91  mm.  x  10.71  mm.);  Th.  in.  (2.38  mm.). 
King  Collection,  No.  165.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  xxxix,  12;  illustrated,  King,  Ant.  Gems, 
p.  xviii,  left.  Slightly  convex  on  the  unengraved  side.  Some 
pieces  are  missing  around  the  edge.  Acc.  No.  81.6.35. 

104  Sard  Ringstone.  Similar  to  the  preceding,  but 
in  rather  higher  relief  and  not  so  carefully  executed.  In 
the  field  is  given  the  name  of  the  owner,  PR  I M 1GEN I . 


%  in.  X  Vs  in.  (1 1.91  mm.  x  9.52  mm.);  Th.  in.  (2.38  mm.). 
King  Collection,  No.  164.  Published  in  King,  Ant.  Gems  and 
Rings,  II,  copperplates,  first  group,  IV,  41.  Slightly  convex  on 
the  engraved  side.  Acc.  No.  81.6.36. 

105  Carnelian  set  in  an  eighteenth-century  ring. 
Gryllos:  Helmet  made  up  of  a  boar’s  head,  a  sleeping  dog, 
a  ram’s  head,  and  the  forepart  of  a  lizard. 

For  similar  representations  on  this  class  of  gems  cf. 
Furtwangler,  A.  G.,  pi.  xxix,  75  ff. 

(As  set)  y2  in.  x  in.  (12.7  mm.  x  10.71  mm.);  Th.  about  % 
in.  (3.57  mm.).  King  Collection,  No.  322.  Published  by  King, 
Ant.  Gems  and  Rings,  II,  copperplates,  first  group,  III,  36. 
Convex  on  the  engraved  side.  Acc.  No.  81.6.40. 

106  Carnelian  Ringstone.  Mask  of  a  bearded, 
wrinkled  man,  in  profile  to  left.  In  the  field  the  inscrip¬ 
tion  S.  PEDI,  probably  standing  for  (“of  Sextus  Pedius”). 


8o  CATALOGUE  OF  ENGRAVED  GEMS 

Such  masks  were  presumably  used  by  actors  for  the  part 
of  an  angry  old  man. 

For  similar  representations  cf.  Furtwangler,  A.  G., 
pi.  xxvi,  49  ff. 

%  in.  x%  in.  (13. i  mm.  x  1 1.51  mm.);  Th.  %  in.  (3.57  mm.). 
King  Collection,  No.  93.  Published  by  King,  Ant.  Gems  and 
Rings,  11,  copperplates,  first  group,  iv,  44.  Slightly  convex  on 
the  engraved  side.  Acc.  No.  81.6.37. 

107  Amethyst  Ringstone.  A  female  comic  mask, 
in  profile  to  left. 

For  similar  representations  cf.  Furtwangler,  A.  G.,  pi. 
xxvi,  57  ff. 

%,  in.  x  %  in.  (14.29  mm.  x  10.32  mm.);  Th.  K  in.  (6.35  mm.). 
King  Collection,  No.  194.  Unpublished.  Strongly  convex  on 
both  sides.  Acc.  No.  81.6.38. 

108  Garnet  Ringstone.  Mask  with  mustache,  seen 
three-quarters  front. 

%  in.  x  %  in.  (1 1.91  mm.  x  8.73  mm.);  Th.  %  in.  (2.78  mm.). 
King  Collection,  No.  195.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  xxxi,  6;  illustrated  in  King,  Precious 
Stones,  p.  327.  Acc.  No.  81.6.39. 

109  Green  Jasper  Ringstone,  mottled  with  yellow. 
Bull  running  to  right;  below,  a  serpent;  above,  a  crescent, 
a  star,  and  a  small  animal. 

A  bull  of  this  type,  sometimes  with  a  serpent  below, 
occurs  on  Romano-Campanian  coins  of  the  third  century 
B.  C.  Cf.  H.  A.  Grueber,  Coins  of  the  Rom.  Republic 
in  the  Brit.  Mus.  II,  p.  136,  III,  pi.  lxxv,  9;  I,  p.  582, 
111,  pi.  lvii,  18;  Furtwangler,  A.  G.,  Ill,  p.  278.  For 
similar  representations  on  gems,  cf.  Furtwangler,  Berk 
Kat.,  Nos.  1982,  1983 ;  and  A.  G.,  pi.  xxviii,  65. 

%  in.  x  %  in.  (1 1.1 1  mm.  x  12.3  mm.);  Th.  %  in.  (2.38  mm.). 
King  Collection,  No.  135.  Published  by  King,  Ant.  Gems  and 


ITALIC  —  HELLENIZING  GROUP  8l 


Rings,  II,  woodcuts,  pi.  xvi,  7;  illustrated  in  King,  Ant.  Gems, 
p.  338.  Slightly  convex  on  the  engraved  side.  Acc.  No. 
81.6.41. 

1 10  Sard  Ringstone.  Boar  attacked  by  a  hound 
(the  wild  boar  of  Calydon?). 

For  similar  representations  cf.  Furtwangler,  Berl.  Kat., 
Nos.  6563-6565.  A  boar,  sometimes  pierced  with  an 
arrow  and  attacked  by  a  hound,  occurs  on  Roman  coins 
of  the  Republican  period;  cf.  H.  A.  Grueber,  Coins  of  the 
Rom.  Republic  in  the  Brit.  Mus.,  I,  p.  389,  111,  pi.  xlii, 
2;  1,  pp.  420,  421,  III,  pi.  xliii,  14,  15;  II,  p.  74,  111,  pi. 
ixvii,  1 1. 

%  in.  x%  in.  (10.71  mm.  x  13.89  mm.);  Th.  %  in.  (2.  78  mm.). 
King  Collection,  No.  305.  Unpublished.  Convex  on  the  en¬ 
graved  side.  Acc.  No.  81.6.42. 

1 1 1  Carnelian  Ringstone.  Ram  running  to  right 
with  head  turned  back.  In  the  field  a  kerykeion  and  a 
shield  (?) ;  inscribed  with  the  name  of  the  owner,  PRIMVS. 

%  in.  x  %  in.  (9.92  mm.  x  13.1  mm.);  Th.  %  in.  (4-76  mm.). 
King  Collection,  No.  137.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  copperplates,  first  group,  V,  49.  Slightly  convex  on 
both  sides.  Chipped  in  places  and  partly  discolored  by  fire. 
Acc.  No.  81.6.43. 

$ 

1 12  Carnelian  Ringstone.  A  goat  walking  to  right 
with  a  grasshopper  on  its  back. 

Compare  the  representations  on  Roman  Republican 
coins  of  goats  with  winged  genii  on  their  backs  (H.  A. 
Grueber,  Coins  of  the  Rom.  Republic  in  the  Brit.  Mus., 
I,  p.  322,  1 1 1,  pi.  xxxviii,  1 1 — 1 4) . 

%  in.  x  %  in.  (13.1  mm.  x  16.27  mm.);  Th.  \ '6  in.  (4.76  mm.). 
King  Collection,  No.  306.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  lviii,  6;  Ant.  Gems  and  Rings,  II,  woodcuts, 
pi.  liv,  4;  illustrated,  King,  Precious  Stones,  p.  164.  Convex 
on  the  engraved  side.  Acc.  No.  81.6.44. 


82  CATALOGUE  OF  ENGRAVED  GEMS 

1 1 3  Carnelian  Ringstone.  Group  of  four  cows,  with 
a  tree  in  the  background;  one  of  the  cows  is  lying  down,  the 
others  are  standing;  of  two  cows  only  the  heads  are  visible. 

%  in.  x  %  in.  (13. i  mm.  x  15.48  mm.);  Th.  %,  in.  (3.97  mm.). 
King  Collection,  No.  294.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  liii,  n.  Slightly  convex  on  both  sides. 
Acc.  No.  81.6.45. 

1 14  Carnelian  Ringstone.  Triskeles  (device  formed 
by  three  legs)  with  a  human  head  in  the  center,  and  with 
ears  of  wheat  and  a  poppy  flower  between  the  legs. 

The  triskeles,  with  a  gorgoneion  in  the  center  and  with 
ears  of  wheat,  occurs  on  the  contemporary  coins  of  Sicily; 
cf.  Head,  Historia  Numorum,  pp.  148,  163.  It  also  ap¬ 
pears  on  the  Republican  coins  of  49  B.  C.  (H.  A.  Grueber, 
Coins  of  the  Rom.  Republic  in  the  Brit.  Mus.,  II,  p.  558, 
III,  pi.  cxx,  1).  The  triskeles  itself  is  generally  regarded 
as  the  emblem  of  the  sun,  and  the  connection  of  the  gor¬ 
goneion  with  it  has  been  taken  to  show  the  significance  of 
the  Gorgon  as  the  power  of  the  sun;  cf.  A.  L.  Frothingham, 
A.  J.  A.,  XV  (191 1),  p.  352,  and  Furtwangler  in  Roscher’s 
Lexikon,  under  Gorgonen,  col.  1726. 

V2  in.  x  ff6  in.  (12.7  mm.  x  1 1.1 1  mm.);  Th.  %>  in.  (4.76  mm.). 
King  Collection,  No.  226.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  lxxvi,  2;  Ant.  Gems  and  Rings,  II,  woodcuts, 
pi.  xx,  10,  and  copperplates,  first  group,  III,  35.  Slightly  con¬ 
vex  on  both  sides.  Slightly  cracked  across  the  middle.  Acc. 
No.  81.6.46. 

1 15  Purple  Glass  Paste.  Amphora  with  ribbed 
body  on  a  high  foot.  Rough  execution. 

For  similar  representations  during  this  period  cf.  Furt¬ 
wangler,  Berl.  Kat.,  Nos.  2266-2268. 

^  in.  x%  in.  (17.86  mm.  x  10.71  mm.);  Th.  ^2  in.  (3-97  mm.). 
Greau  Collection,  No.  1060.  Published  by  Froehner,  Greau 


Plate  35 

NO.  I27 


Pantheistic  Head 


CHALCEDONY 


ITALIC — FIRST  CENTURY  B.  C.  83 

Collection,  pi.  clxxiv,  46.  Convex  on  the  engraved  side.  Ac c. 
No.  17.194.34. 

First  Century  B.  C. 

In  the  first  century  B.  C.  the  Etruscanizing  and  the 
Hellenizing  groups  became  gradually  merged  into  one 
style.  As  we  should  expect  from  our  knowledge  of  con¬ 
temporary  history  and  art,  we  find  the  national  Latin  ele¬ 
ment  gradually  disappearing  and  the  Greek  style  gaining 
complete  ascendancy.  Before  the  establishment  of  the 
Graeco-Roman  classicist  style  of  the  Augustan  period  we 
can  watch  this  process  at  work.  The  Etruscanizing  gems 
no  longer  copy  the  archaic  style,  retaining  only  a  certain 
stiffness.  The  Campano-Hellenistic  style,  on  the  other 
hand,  loses  somewhat  its  sturdiness  and  freshness  and  be¬ 
comes  more  and  more  classicist  in  tendency. 

Sardonyx,  sard,  carnelian,  and  glass  paste  retain  their 
popularity,  but  the  convex  form  is  no  longer  so  common. 
The  subjects  are  similar  to  those  of  the  preceding  period, 
though  a  number  of  new  motives  are  introduced. 

1 16  Sard  Ringstone.  Bust  of  Hera  in  profile  to 
left,  with  earrings  and  with  a  peacock  on  her  head.  Good 
execution. 

For  a  similar  representation  cf.  Furtwangler,  A.  G., 
xxvi,  19.  The  type  is  derived  from  Egyptian  prototypes 
and  probably  originated  in  Alexandria;  compare  the  simi¬ 
lar  treatment  of  Dione  (?)  with  a  vulture.  (Walters, 
Select  Bronzes,  pi.  24.) 

%in.  x%in.  (14.68  mm.  x  11.91  mm.);Th.  %iu.  (4.76  mm.). 
King  Collection,  No.  70.  Published  by  Furtwangler,  A.  G., 
pi.  xxv,  33,  who  puts  it  among  the  Hellenizing  Italic  gems;  what 
Furtwangler  calls  a  necklace  appears  to  be  the  upper  edge  of  the 
garment.  Published  also  by  King,  Hdbk.  of  Engraved  Gems, 
pi.  lxxiii,  8;  Ant.  Gems  and  Rings,  II,  woodcuts,  pi.  1,  2;  illus¬ 
trated,  King,  Precious  Stones,  p.  329.  Convex  on  both  sides. 


84  CATALOGUE  OF  ENGRAVED  GEMS 

The  lower  end  of  the  stone  is  missing  (since  Furtwangler  and 
King’s  publications).  Acc.  No.  81.6.47. 

1 1 7  Green  Glass  Paste,  with  blue  band.  Bearded 
herm  of  Hypnos  with  butterfly  wings  on  the  head,  imi¬ 
tating  the  style  of  the  fifth  century  B.  C.,  but  roughly 
executed. 

The  subject  was  popular  at  this  period.  For  similar 
representations  cf.  Furtwangler,  A.  G.,  pi.  xxx,  24-26. 

%  in.  x  %  in.  (15.08  mm.  x  1 1.91  mm.);  Th.  in.  (6.35  mm.). 
Greau  Collection,  No.  1031.  Published  by  Froehner,  Gr£au 
Collection,  pi.  clxxiv,  17.  The  edges  have  not  been  trimmed. 
Acc.  No.  17.194.35. 


1 18  Carnelian  Ringstone.  A  sculptor  is  seated  on 
a  stool  and  working  on  a  bust  which  is  mounted  on  a  col¬ 
umn;  he  is  bearded  and  wears  a  himation  around  the  lower 
part  of  his  body.  Fine  execution,  in  thoroughly  Greek 
style. 

%  in.  x%  in.  (13. 1  mm.  x  11.51  mm.);  Th.  %  in.  (2.78  mm.). 
King  Collection,  No.  232.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  xxxviii,  4;  illustrated,  King,  Precious 
Stones,  p.  90.  Acc.  No.  81 .6.48. 

119  Carnelian  Ringstone.  A  bearded  man  wearing 
a  himation  around  the  lower  part  of  his  body  is  sitting  on 
a  chair,  reading  from  a  scroll;  in  front  of  him  is  a  herm. 

Also  a  common  subject;  cf.  Furtwangler,  A.  G.,  pi. 
xxx,  40  ff. 

%  in.  x  ys  in.  (9.92  mm.  x  15.87  mm.);  Th.  %  in.  (2.78  mm.). 
King  Collection,  No.  233.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  xxxviii,  1 1.  Slightly  convex  on  the  en¬ 
graved  side.  Acc.  No.  81.6.49. 

120  Carnelian  Ringstone.  A  bearded  man  is  sitting 
in  front  of  a  burning  altar  and  holding  in  both  hands  a 


Plate  36 

NO.  I30 


Serapis-Hades 


SARD 


ITALIC — FIRST  CENTURY  B.  C.  85 

ram’s  head.  The  interpretation  of  the  subject  is  uncertain. 
Fine  execution. 

%  in-  in.  (10.71  mm.  x  13. 1  mm. );  Th.  %  in.  (2.78  mm.). 
King  Collection,  No.  246.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  copperplates,  first  group,  IV,  46.  Convex  on  both 
sides.  Slightly  chipped  in  two  places;  the  surface  of  the  en¬ 
graving  is  highly  polished.  Acc.  No.  81.6.50. 

12 1  Carnelian  Ringstone.  The  Roman  she-wolf, 
with  the  twins  Romulus  and  Remus,  is  represented  under 
the  fig-tree,  with  Roma  and  Faustulus  watching  them. 
Roma  is  seated  and  has  a  spear  and  a  shield;  Faustulus  is 
standing,  leaning  on  his  staff. 

Compare  Furtwangler,  Berl.  Kat.,  Nos.  4390,  4391. 
The  wolf  with  the  twins  is  one  of  the  few  scenes  of  Roman 
rather  than  Greek  origin  which  occur  on  Roman  gems  and 
coins.  The  earliest  representations  are  on  Romano- 
Campanian  coins  of  about  335-312  B.  C.  (cf.  H.  A.  Grue- 
ber.  Coins  of  the  Rom.  Republic,  II,  pp.  1 24-1 25);  but  she 
appears,  sometimes  with  Roma  or  Faustulus,  on  coins 
throughout  the  Republican  period  (cf.  Grueber,  op.  cit., 

I,  p.  61,  III,  pi.  xvii,  10;  I,  pp.  13 1,  132,  III,  pi.  xxvi,  6; 

II,  pp.  284,  285,  1 1 1,  pi.  xciv,  7). 

in.  x  %  in.  (9.92  mm.  x  13.1  mm.);  Th.  %,  in.  (2.38  mm.). 
King  Collection,  No.  101.  Published  by  Furtwangler,  A.  G., 
pi.  xxviii,  60;  King,  Ant.  Gems  and  Rings,  II,  woodcuts,  pi.  xix, 
B,  7;  Osborne,  Engraved  Gems,  pi.  xxv,  3;  illustrated.  King, 
Precious  Stones,  p.  251.  Acc.  No.  81.6.33. 

122  Opaque  Blue  Glass  Paste.  Faustulus  leaning 
on  his  staff  watching  the  Roman  she-wolf  and  the  twins 
Romulus  and  Remus  under  the  fig-tree.  Both  the  com¬ 
position  and  the  execution  are  better  than  in  the  pre¬ 
ceding  example. 

For  similar  representations  cf.  Furtwangler,  Berl.  Kat., 
Nos.  4379  ff. 


86  CATALOGUE  OF  ENGRAVED  GEMS 

%  in.  x%  in-  (1746  mm.  x  13.49  mm.);  Th.  %  in.  (3.57  mm.). 
Greau  Collection,  No.  1038.  Published  by  Froehner,  Greau 
Collection,  pi.  clxxiv,  44.  Slightly  convex  on  both  sides.  Acc. 
No.  17.194.36. 

123  Opaque  Blue  Glass  Paste.  Similar  representa¬ 
tion  to  the  preceding;  on  the  fig-tree  is  a  bird,  presumably 
the  woodpecker  that  helped  to  feed  and  watch  over  the 
twins  (Plutarch,  Romulus,  3,  and  Defortuna  Romanorum, 
320  D). 

in.  x  ys  in.  (15.48  mm.  x  15.87  mm.);  Th.  %  in.  (3.57  mm.) 
Gr£au  Collection,  No.  1056.  Published  by  Froehner,  Gr£au 
Collection,  pi.  clxxiv,  42.  Slightly  convex  on  the  engraved  side. 
The  lower  end  of  the  stone  is  missing.  Acc.  No.  17.194.37. 


Plate  37 


GRAECO-ROMAN  PERIOD 

AUGUSTAN  AND  EARLY  IMPERIAL 

The  era  of  world  peace  which  was  initiated  with  the 
reign  of  Augustus  had  an  immediate  and  beneficial  effect 
on  art.  Artists  from  Greece  and  from  the  East  now 
flocked  to  Rome,  the  center  of  the  Empire,  where  they 
would  get  more  patronage  than  in  the  outlying  provinces, 
and  a  most  flourishing  artistic  output  resulted.  We  have 
seen  how  toward  the  end  of  the  Republic  Greek  art  had 
already  gained  a  firm  foothold  and  was  superseding  the 
native  Italic  style.  In  the  Augustan  epoch  it  had  gained 
complete  ascendancy,  not  only  in  certain  localities,  but 
throughout  the  Roman  Empire.  Politically  the  art  of 
this  epoch  was  Roman,  and  is  therefore  referred  to  as  such; 
but  otherwise  it  was  Greek,  being  not  only  Greek  in  style, 
but  produced  mostly  by  Greeks,  or  by  Romans  who  closely 
copied  Greek  work.  It  was  only  in  the  rural  Italian  dis¬ 
tricts  which  were  far  from  the  influence  of  the  city  centers 
that  the  local  Italic  style  still  survived  for  some  time.  But 
the  gems,  which  would  naturally  be  worked  for  the  more 
cultured  classes  of  the  community,  show  the  Greek  style 
in  its  purity. 

This  Greek  style  is  not  that  of  the  Hellenistic  period. 
It  is  rather  a  reaction  from  the  exuberance  and  exaggera¬ 
tion  of  that  period  to  the  quiet,  elegant  taste  of  earlier 

87 


88  CATALOGUE  OF  ENGRAVED  GEMS 

times.  In  Greece  itself,  and  especially  in  Athens,  Hel¬ 
lenistic  extravagances  had  never  found  favor,  and  art  had 
remained  faithful  to  earlier  traditions,  such  conservatism 
of  course  resulting  in  lack  of  originality  and  vitality.  It 
is  this  classicist  style  which,  now  that  the  Hellenistic 
schools  had  played  themselves  out,  came  again  into  its 
own,  and  completely  dominated  the  art  of  this  whole 
epoch.  Naturally  the  subjects  and  novel  treatment 
introduced  during  the  Hellenistic  period  were  utilized; 
Roman  art  was  now  thoroughly  eclectic  and  borrowed 
freely  in  every  direction  from  the  large  store  of  artistic 
products  at  its  disposal.  But  its  dominant  characteristic 
is  a  quiet,  cold  elegance,  which,  though  totally  different 
from  the  great  art  of  the  creative  periods  of  Greece,  is  still 
the  natural  development  of  that  art,  copied  and  adapted 
by  uncreative,  but  artistically  gifted,  people. 

That  engraved  gems  enjoyed  a  great  popularity  in  the 
early  Imperial  period  is  shown  not  only  by  the  large  num¬ 
ber  of  examples  which  have  survived,  but  also  in  literary 
sources.  We  know,  for  instance,  that  prominent  men 
exhibited  in  public  places  collections  of  beautiful  gems, 
so-called  daktyliothekai;  and  there  are  a  number  of  refer¬ 
ences  to  sealstones  of  special  persons  (see  pp.  xxxi  f.,  xxii  f.). 

It  is  natural  that  at  this  time  of  Roman  world  dominion 
and  increased  commercial  facilities,  the  gem-cutters 
should  have  used  a  great  variety  of  stones;  for  they  could 
obtain  them  without  difficulty  from  all  parts  of  the  em¬ 
pire.  The  commonest  stone  used  by  them  was  the  carne- 
lian;  the  sard,  the  sardonyx,  the  chalcedony,  and  the  ame¬ 
thyst  also  more  or  less  retained  their  popularity.  Specially 
fine  engravings  are  often  found  on  garnets,  hyacinths, 
beryls,  topazes,  and  peridots,  more  rarely  on  emeralds 
and  sapphires.  The  nicolo  and  red  jasper,  which  occurred 
only  occasionally  in  former  periods,  now  enjoyed  great 


GRAECO-ROMAN  PERIOD  89 

popularity.  The  Roman  enthusiasm  for  this  wealth  of 
beautiful  stones  can  be  gauged  from  the  remarks  of  Pliny 
(Natural  History,  XXXVII,  1),  who  declared  that  some 
gems  are  regarded  “beyond  any  price  and  even  beyond 
human  estimation,  so  that  to  many  men  one  gem  suffices 
for  the  contemplation  of  all  nature.”  The  substitution 
of  glass  for  stones  became  very  general  in  the  period  of 
Julius  Caesar  and  lasted  throughout  the  reign  of  Augus¬ 
tus;  after  that  there  was  a  marked  decline  in  its  use. 

The  ringstone  is  the  prevalent  form  for  the  gems  of  this 
period,  as  it  was  in  the  preceding  one.  It  is  generally 
of  a  rounded,  and  occasionally  of  a  quadrangular  shape, 
and  is  either  flat  or  convex.  The  cylinder  and  perforated 
four-sided  and  five-sided  forms  occur  only  in  isolated  in¬ 
stances.  Though  these  gerns  were  used  mostly  in  rings 
as  sealstones,  they  also  served  as  ornaments  in  vases,  uten¬ 
sils,  and  necklaces.  The  unengraved  stones  probably 
served  purely  this  decorative  purpose.  Rings  made  en¬ 
tirely  of  metal  with  engraved  bezels  must  have  been  very 
common,  to  judge  from  the  number  preserved.  For  the 
chief  types  cf.  Marshall,  Cat.  of  Finger  Rings  in  the  Brit. 
Mus.  p.  xlv  f. 

Technically,  the  gems  of  the  early  Imperial  period  are 
mostly  on  a  high  level ;  some  pieces  indeed  show  a  marvel¬ 
ous  dexterity  in  the  cutting.  From  the  point  of  view  of 
both  style  and  subjects,  they  give  an  excellent  idea  of 
Roman  art  in  general;  for  all  the  chief  tendencies  of  this 
art  are  here  represented.  We  learn  how  almost  entirely 
dependent  it  was  for  inspiration  on  the  products  of  Greek 
art  in  its  various  periods;  but  also  that  the  artists  of  the 
period  knew  effectively  how  to  utilize  what  was  at  their 
disposal  and  to  lend  interest  to  their  representations  by 
continually  varying  their  motives. 

Many  of  these  motives  were  borrowed  from  Hellenistic 


90  CATALOGUE  OF  ENGRAVED  GEMS 

art — Hellenistic  art  in  its  quieter,  more  charming  aspect; 
and  it  is  often  difficult  to  determine  whether  such  gems 
belong  to  the  Augustan  period  or  should  be  assigned  to  the 
late  Hellenistic  epoch.  Such  are,  for  instance,  the  many 
representations  of  Eroteswefmdonthe  gemsof  this  period; 
also  other  figures  from  the  circle  of  Aphrodite,  actors,  and 
many  of  the  heads  and  busts.  Some  of  the  representations, 
chiefly  mythological  scenes,  are  probably  derived  from 
Hellenistic  paintings. 

Deities  are  popular  subjects  in  this  period,  a  represen¬ 
tative  collection  of  Graeco-Roman  gems  generally  con¬ 
taining  the  whole  circle  of  Greek  and  Romanized  Greek 
divinities. 

Of  special  interest  are  the  copies  and  adaptations  of 
Greek  statues  of  the  fifth  and  fourth  centuries  B.  C.  They 
are  executed  in  the  Augustan  “classicist”  style,  familiar 
from  contemporary  sculpture.  Sometimes  they  are  of 
excellent  execution,  especially  when  worked  on  the  finer 
stones,  though  more  frequently  they  are  carelessly  cut  on 
inferior  gems,  such  as  the  nicolo  and  plasma.  Archaistic 
works,  that  is,  Roman  copies  of  archaic  Greek  works,  occur 
on  the  gems  as  they  do  in  sculpture.  Greek  paintings  of 
the  fifth  and  fourth  centuries  undoubtedly  also  exercised 
considerable  influence  on  the  gem-cutters  of  this  period. 
Another  source  of  inspiration  seems  to  have  been  con¬ 
temporary  metalwork,  since  we  find  many  motives  which 
probably  came  from  that  source. 

Besides  mythological  subjects  and  scenes  of  daily  life, 
portraits  play  an  important  role  on  the  gems.  There  are 
a  number  of  beautiful  Greek  heads  of  distinguished  philos¬ 
ophers  and  writers,  such  as  Homer,  Sokrates,  Demosthenes, 
and  Epicurus,  who  were  much  revered  by  the  cultured 
Romans.  Then  we  have  Romans  of  the  late  Republican 
period,  for  instance,  Julius  Caesar,  Cicero,  and  also,  of 


Plate  38 
no.  138 


Apollo 


peridot 


GRAECO-ROMAN  PERIOD  91 

course,  contemporaries  of  the  time  of  Augustus.  Many 
excellent  heads  of  the  Julio-CIaudian  period  are  preserved; 
and  the  standard  of  later  portrait  work  is  also  frequently 
high. 

Lastly  must  be  mentioned  all  sorts  of  objects  and  sym¬ 
bols  which  are  often  represented  on  the  gems.  The  grylloi, 
or  fantastic  combinations,  probably  with  superstitious 
import,  which  occur  in  the  preceding  period,  now  become 
especially  popular. 

We  have  seen  how  in  Hellenistic  times  the  cameo  tech¬ 
nique  made  its  appearance.  This  was  continued  through¬ 
out  the  Julio-CIaudian  period,  side  by  side  with  that  of 
gem  engraving.  Such  cameos  were  used  mostly,  as  in  the 
preceding  epoch,  for  the  decoration  of  vessels  and  utensils; 
only  the  smaller  pieces  could  have  served  as  ringstones, 
and  they  then  were  of  course  merely  ornamental,  not  used 
for  sealing. 

The  chief  material  used  for  cameos  was  the  sardonyx, 
both  the  Indian  and  Arabian  varieties.  Generally,  the 
representation  was  carved  in  the  lighter  layer,  while  the 
darker  one  served  as  the  background.  Occasionally, 
this  was  reversed,  and  the  relief  is  dark  on  a  light  ground. 
Again,  in  other  cases  more  than  two  layers  were  utilized. 
Onyx  of  different  layers  was  likewise  used  for  cameos,  as 
were  one-colored  stones,  like  chalcedony,  sard,  agate, 
carnelian,  rock  crystal,  amethyst,  and  turquoise,  especially 
for  representations  in  very  high  relief.  Glass  cameos  occur 
not  infrequently  as  a  substitute  for  stone  ones.  They 
imitate  the  different  layers  of  the  sardonyx  as  well  as  the 
one-colored  varieties.  The  large  majority  of  them  were 
cast,  but  sometimes  they  were  cut,  or  at  least  reworked 
after  casting,  as  can  be  seen  by  the  sharp,  fine  detail 
work. 

The  subjects  chosen  for  representation  on  the  cameos 


92  CATALOGUE  OF  ENGRAVED  GEMS 

are  largely  portraits  and  mythological  scenes.  Among  the 
former  we  have  a  number  of  valuable  representations  of 
emperors  and  princes.  The  mythological  scenes  show  an 
intimate  connection  with  Hellenistic  cameos,  and  it  is  often 
difficult — just  as  it  is  with  the  gem  engravings — to  decide 
to  which  of  the  two  periods  a  specimen  belongs.  Dionysos 
and  Aphrodite  and  their  followers  are  popular  subjects, 
likewise  other  gods  and  goddesses,  several  Trojan  heroes, 
and  Medusa. 

Here  must  be  mentioned  the  custom  of  carving  such 
precious  stones,  not  in  relief  as  in  the  cameos,  but  in  the 
round.  Though  it  started  in  Ptolemaic  times,  its  greatest 
popularity  was  not  until  the  later  Imperial  period,  and 
it  corresponds  well  with  the  more  barbaric  taste  of  that 
time.  More  and  more  value  was  placed  on  the  material 
rather  than  the  workmanship. 

Finally,  we  must  note  a  number  of  vases  which  were  cut 
in  sardonyx  and  decorated  with  scenes  in  relief,  the  various 
layers  of  the  stone  being  effectively  employed  to  gain  a 
variety  of  coloring.  As  imitations  of  such  sardonyx  vases 
in  glass,  may  be  classed  vases  of  the  style  of  the  Port¬ 
land  vase,  though  in  these  the  coloring  of  the  originals  is 
not  adhered  to. 

Signatures  of  artists  are  found  not  infrequently  both  on 
the  engraved  gems  and  on  cameos  of  this  period.  In  fact 
by  far  the  majority  of  the  names  of  ancient  gem-cutters 
known  to  us  belongto  early  Imperial  times  (seepp.xxxixff.). 
The  most  distinguished  artist  was  Dioskourides,  of  whom 
we  know  that  he  made  the  Imperial  seal-ring  of  Augus¬ 
tus  (Pliny,  Natural  History,  XXXVII,  50  and  73). 
Though  this  special  gem  is  lost,  several  fine  stones  with  his 
signature  are  preserved  (cf.  Furtwangler,  A.  G.,  pi.  xlix, 
H  6,  7,  9,  10);  so  that  we  have  here  the  unique  combina¬ 
tion  of  a  literary  and  a  monumental  record,  a  fact  of  great 


Plate  39 


GRAECO-ROMAN  PERIOD  93 

importance,  for  by  it  we  are  able  to  assign  a  definite  date  to 
all  gems  stylistically  related  to  Dioskourides’  work.  More¬ 
over,  Dioskourides’  three  sons — Eutyches,  Hyllos,  and 
Herophilos — have  also  left  signed  works,  and  thus  furnish 
further  chronological  data. 

The  gems  in  this  collection  belonging  to  the  Graeco- 
Roman  period  have  been  divided  into  two  classes:  (1) 
Intaglios;  (2)  Cameos.  The  former,  which  are  by  far  the 
more  numerous,  have  been  subdivided  according  to  sub¬ 
jects,  as  follows: 

a.  Deities 

b.  Heroes 

c.  Mythological  Animals  and  Monsters 

d.  Portraits 

e.  Scenes  from  Daily  Life 

f.  Animals 

g.  Grylloi 

h.  Objects  and  Symbols 
I.  Intaglios 

DEITIES — KRONOS  (?) 

124  Carnelian  Ringstone.  Bearded  head  with 
mantle  pulled  up,  in  profile  to  right  (Kronos?);  his  eyes 
are  closed,  so  that  he  is  probably  conceived  as  sleeping. 
Good  execution. 

This  general  type  with  mantle  pulled  over  the  head  is 
usually  associated  with  Kronos  (cf.  M.  Mayer  in  Roscher’s 
Lexikon,  under  Kronos,  cols.  1 558 fT.) ;  and  it  is  possible 
that  he  is  represented  here. 

•Kein.x  %  in.  (14.29  mm.  x  1 1. 1 1  mm.);  Th.  %  in.  (2.78  mm.). 
King  Collection,  No.  65.  Published  by  King,  Hdbk.  of  Engraved 
Gems,  pi.  xli,  1;  Ant.  Gems  and  Rings,  11,  woodcuts,  pi.  x,  1, 
and  copperplates,  first  group,  I,  6;  Osborne,  Engraved  Gems, 
pi.  xxi,  19.  Acc.  No.  81.6.53. 


94  CATALOGUE  OF  ENGRAVED  GEMS 
ZEUS  AND  RELATED  TYPES 

125  Sard  Ringstone.  Head  of  Zeus  Ammon,  three- 
quarters  front.  Careful  work. 

Ammon,  one  of  the  chief  deities  of  Egypt,  was  identified 
by  the  Greeks  with  Zeus,  and  in  representations  of  him  the 
type  of  Zeus  with  the  addition  of  ram’s  horns  was  regu¬ 
larly  used  (cf.,  e.  g.,  on  Greek  coins  of  the  Cyrenaica  from 
the  sixth  century  B.  G.  on.  Head,  Historia  Numorum,  pp. 
866  ff.).  For  a  similar  representation  on  another  gem  of 
this  period  cf.  Furtwangler,  A.  G.,  pi.  xli,  3. 

%  in.  x  %  in.  (14.29  mm.  x  11.91  mm.); 
Th.  5^  in.  (3-97  mm.).  King  Collection,  No. 
77.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  copperplates,  first  group,  I,  2. 
Acc.  No.  81.6.54. 

126  Carnelian  set  in  a  thick  gold 
ring  with  three-sided  hoop  and  notched 
shoulders.  Head  of  Zeus  Ammon,  simi¬ 
lar  to  the  preceding. 

(As  set)  %  in.  x  2^4  in.  (13.49  mm.  x  9.92  mm.).  King  Col¬ 
lection,  No.  76.  Unpublished.  Convex  on  the  engraved  side. 
Acc.  No.  81.6.55. 

127  Chalcedony  Ringstone.  A  pantheistic  head, 
bearded,  with  ram’s  horns,  rays,  and  headdress  in  the  form 
of  a  kalathos,  thus  combining  the  attributes  of  Zeus  Am¬ 
mon,  Helios,  and  Serapis.  The  head  has  a  fine  nobility, 
and  is  carefully  executed. 

For  similar  representations,  cf.  Furtwangler,  Berl.  Kat., 
Nos.  2637  ff. 

%  in.  x  %  in.  (19.84  mm.  x  14.68  mm.);  Th.  %  in.  (4.76  mm.). 
King  Collection,  No.  67.  Published  by  King,  Hdbk.  of  Engraved 
Gems,  pi.  xli,  4;  Ant.  Gems  and  Rings,  II,  woodcuts,  pi.  xii,  5 
and  copperplates,  first  group,  IV,  38;  illustrated  in  King,  Precious 
Stones,  title  page.  Convex  on  both  sides.  Partly  chipped 
around  the  edge.  Acc.  No.  81.6.56. 


GRAECO-ROMAN  PERIOD 


95 


128  Carnelian  Ringstone.  A  pantheistic  head, 
similar  in  type  to  the  preceding,  but  of  more  careless  exe¬ 
cution;  on  the  field  is  a  snake  wound  around  a  stick. 

%  in.  x  %  in.  (14.29  mm.  x  12.3  mm.) ;  Th.  ys  in.  (3.17  mm.). 
King  Collection,  No.  78.  Published  by  King,  Ant.  Gems  and 
Rings,  11,  woodcuts,  pi.  xii,  6;  illustrated  in  King,  Precious 
Stones,  p.  210.  Convex  on  both  sides.  Somewhat  chipped, 
chiefly  at  the  back.  Acc.  No.  81 .6.57. 

129  Carnelian  Ringstone.  Bust  of  a  beardless 
deity  with  ram’s  horns,  rays,  and  a  rough  representation 
of  a  kalathos  crown;  thus  combining,  like  the  two  preced¬ 
ing,  the  attributes  of  Zeus  Ammon,  Helios,  and  Serapis. 

For  similar  representations  cf.  Furtwangler,  Berl.  Kat., 
Nos.  2630-2636. 

%  in.  x  %  in.  (19.05  mm.  x  1 1.5  1  mm.);  Th.  in.  (3.97  mm.). 
King  Collection,  No.  120.  Unpublished.  Slightly  convex  on 
the  engraved  side.  Acc.  No.  81.6.209. 

130  Carnelian  Ringstone.  Serapis-Hades  standing 
to  right,  with  left  hand  raised,  the  right  holding  a  spear; 
by  his  side  the  dog  Kerberos.  In  the  field  the  inscription 
EIC  ZEYC  .  CAPATTIC  “One  Zeus  Sarapis.”  Fine, 
spirited  work. 

The  Greek  Hades  was  identified  by  the  Romans  with 
Serapis,  the  Egyptian  god  of  the  underworld,  and  is  often 
represented  with  the  Serapis  crown  added  to  his  own  at¬ 
tributes. 

4%in.x  in.  (17.06  mm.  x  1 1.1 1  mm.); Th.  %,  in.  (2.38  mm.). 
King  Collection,  No.  84.  Unpublished.  Convex  on  the  en¬ 
graved  side.  Acc.  No.  81.6.58. 

131  Red  Jasper  Ringstone.  Serapis-Hades  enthroned, 
his  left  hand  holding  a  sceptre;  by  his  side  the  dog 
Kerberos.  In  the  field  the  inscription  6PMHC  IPN. 
Fair  execution. 


g6  CATALOGUE  OF  ENGRAVED  GEMS 

For  a  similar  representation  cf.  Furtwangler,  A.  G., 
pi.  xliv,  4. 

%  in.  x  %  in.  (15.08  mm.  x  13. 1  mm.);Th.  %,in.  (3.97  mm.). 
King  Collection,  No.  82.  Unpublished.  Slightly  convex  on 
the  engraved  side.  Acc.  No.  81.6.59. 

POSEIDON 

132  Brown  Glass  Paste.  Poseidon  standing  to  left 
holding  his  trident  in  his  left  hand  and  his  mantle  in  his 
right;  by  his  side  is  the  prow  of  a  ship.  Fair  execution. 

This  type  of  Poseidon  was  created  in  the  fourth  cen¬ 
tury  B.  C.,  and  was  constantly  copied  and  adapted  in  later 
times  (cf.  H.  Bulle  in  Roscher’s  Lexikon,  under  Poseidon, 
col.  2884  ff.).  It  frequently  occurs  on  gems  of  this  period; 
cf.  Furtwangler,  Berl.  Kat.,  Nos.  3448  ff. 

Dimensions  of  field  with  representation:  %  in.  x  %  in.  (1 1.51 
mm.  x  9.13  mm.).  Greau  Collection,  No.  1046.  Published 
by  Froehner,  Greau  Collection,  pi.  clxxiv,  32.  The  edges  have 
not  been  trimmed.  Ac c.  No.  17.194.38. 

DEMETER 

133  Sard  Ringstone.  The  statue  of  Demeter,  hold¬ 
ing  the  horn  of  plenty  and  the  ears  of  wheat,  enthroned 
on  a  chariot  which  is  drawn  by  two  African  elephants; 
on  each  elephant  a  driver  is  sitting,  with  a  whip  in  his 
hand;  on  the  side  of  the  chariot  is  a  relief  of  two  Erotes. 
Attractive  composition. 

For  a  similar  representation  on  a  gem  cf.  Furtwangler, 
Berl.  Kat.,  No.  6745,  and  Imhoof-Blumer  und  Keller, 
Tier-  und  Pflanzenbilder,  pi.  xix,  43.  For  designs  on 
coins  showing  Augustus  and  Faustina,  wife  of  Antoninus 
Pius,  in  chariots  drawn  by  elephants,  cf.  S.  M.  Stevenson, 
Diet,  of  Rom.  Coins,  p.  358. 

The  elephant  does  not  appear  in  classical  art  until  the 
time  of  Alexander.  From  that  time  both  the  Indian  and 


GRAECO-ROMAN  PERIOD  97 

the  African  varieties  were  known  in  Greece  and  Rome. 
They  were  sometimes  brought  to  Rome  and  shown 
to  the  populace  in  the  circuses.  We  are  told  by  Sue¬ 
tonius  (Claudius,  1 1)  that  the  statue  of  the  deified  Livia 
Augusta  was  on  such  an  occasion  drawn  in  a  chariot  by 
elephants. 

'Vi  in.  x  %  in.  (12.7  mm.  x  15.48  mm.);  Th.  %  in.  (3.57  mm.). 
King  Collection,  No.  112.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  lxxv,  6;  Ant.  Gems  and  Rings,  II,  woodcuts, 
pl.-xxxii,  2,  and  copperplates,  second  group,  III,  8;  Ant.  Gems, 


pi.  iii,  8;  illustrated,  King,  Precious  Stones,  p.  215.  Slightly 
convex  on  the  engraved  side.  Acc.  No.  81.6.60. 

134  Carnelian  Ringstone.  The  same  subject  as 
on  No.  133,  treated  almost  identically.  [Not  illustrated.] 

%  in.  x  %  in.  (1 1.5  1  mm.  x  14.29  mm.) ;  Th.  %  in.  (2.78  mm.). 
King  Collection,  No.,  113.  Unpublished.  Slightly  convex  on 
both  sides.  There  is  a  small  chip  at  the  top.  Acc.  No.  81 .6.61. 

135  Carnelian  Ringstone.  A  goddess,  probably 
Demeter,  standing,  holding  a  dish  of  fruit  in  one  hand  and 
two  ears  of  wheat  in  the  other.  Fair  execution. 

For  similar  representations  cf.  Furtwangler,  Berl.  Kat., 
Nos.  2859  ff. 

3%in.x%in.  (14.68 mm.  x  10.32  mm. );Th.  %in.  (3.57mm.). 
King  Collection,  No.  1 14.  Unpublished.  Convex  on  the  en¬ 
graved  side.  Acc.  No.  81.6.63. 


98  CATALOGUE  OF  ENGRAVED  GEMS 

136,  Sard  Ringstone.  A  goddess  (Demeter  or 
Fortuna?)  seated  with  a  cornucopia  in  one  hand  and 
a  small  figure  holding  a  balance  in  the  other;  by  her  side 
is  a  basket  with  three  ears  of  wheat.  Rather  sketchy 
execution. 

3%4  in.  x  %  in.  (1 5.48  mm.  x  1 1.91  mm.);  Th.  in.  (3.97  mm.). 
King  Collection,  No.  111.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  xlvi,  6;  Ant.  Gems  and  Rings,  II,  woodcuts, 
pi.  xxxv,  2.  Convex  on  both  sides.  The  stone  has  been 
blanched  by  fire.  Acc.  No.  81.6.62. 

APOLLO  AND  MUSES 

137  Carnelian  Ringstone.  Apollo,  partly  draped, 
is  represented  standing  in  an  easy,  Praxitelean  attitude, 
resting  his  lyre  on  the  head  of  a  draped  female  statu¬ 
ette  of  early  style;  the  latter  holds  in  her  hand  what 
appears  to  be  a  branch.  In  the  field  is  the  inscrip¬ 
tion  X.  NEA,  referring  probably  to  the  owner.  Good 
execution. 

Though  the  workmanship  of  the  stone  is  apparently 
Roman,  the  composition  certainly  goes  back  to  at  least 
Hellenistic  times;  it  appears,  for  instance,  on  an  Italic 
stone  (Furtwangler,  A.  G.,  XXIV,  56)  in  the  rather  dry, 
early  Roman  stj'le.  In  the  Graeco-Roman  period  it 
seems  to  have  enjoyed  considerable  popularity,  judging 
from  the  number  of  extant  replicas  (cf.  list  given  in  Furt¬ 
wangler,  A.  G.,  text  to  pi.  xxxi,  33).  The  fine  example 
in  the  British  Museum  figured  by  Furtwangler,  A.  G.,  pi. 
xxxi,  33  ( =  xliii,  34)  is  placed  among  the  eighteenth- 
century  gems  by  Dalton  in  his  Post-Classical  Gems,  pi. 
xxii,  605. 

%  in.  x  %  in.  (21.43  mrn-  x  14-68  mm.);  Th.  %,  in.  (3.97  mm.). 
King  Collection,  No.  117.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  xlviii,  1;  Ant.  Gems  and  Rings,  II,  woodcuts, 
pi.  xv,  3;  mentioned  by  Furtwangler,  loc.  cit.  Slightly  convex  on 
both  sides.  Acc.  No.  81.6.64. 


GRAECO-ROMAN  PERIOD 


99 


138  Peridot  Ringstone.  Apollo  is  standing  leaning 
on  a  pillar,  and  holding  a  bow  in  one  hand;  his  lyre  rests 
against  the  pillar;  he  has  long  hair  and  wears  a  chlamys 
around  his  shoulder.  Fine,  careful  work. 

There  are  a  number  of  replicas  of  this  composition  on 
gems  (cf.,  e.  g.,  Furtwangler,  A.  G.,  pis.  xxxviii,  17,  xlii, 
8,  9).  It  was  probably  borrowed  from  sculpture. 

5%in.x%in.  (21.83  mm. x  13.49  mm.);  Th.  %in.  (4.76  mm.). 
King  Collection,  No.  1 18.  Published  by  King,  Hdbk.  of 
Engraved  Gems,  pi.  xlviii,  3;  Ant.  Gems  and  Rings,  II, 
woodcuts,  pi.  xv,  8;  Osborne,  Engraved  Gems,  pi.  xiv,  5; 
mentioned  by  Furtwangler,  A.  G.,  text  to  pi.  xlii,  8;  illustrated, 
King,  Precious  Stones,  p.  398.  Convex  on  both  sides.  Acc. 
No.  81.6.65. 

139  Garnet  (Pyrope)  set  in  a  plain  heavy  gold  ring. 
On  the  stone  is  engraved  Apollo  leaning  against  a  column 
and  holding  a  laurel  branch  and  a  bow  (?).  On  his  back 
is  his  quiver. 

For  a  variant  of  this  composition  cf.  Furtwangler,  A.  G., 
pi.  xliv,  62. 

(Asset)  %  in-  x  %  in.  (17.06  mm.  x  9.92  mm.).  From  Cyprus. 
Cesnola  Collection.  Cf.  Myres,  Handbook,  No.  4235.  Illus¬ 
trated,  Cesnola  Atlas,  III,  pi.  xxviii,  1 1.  A  piece  from  the  top  is 
missing,  including  most  of  the  head;  cracked  and  chipped  in 
places.  Acc.  No.  C.  E.  27. 


HELIOS 

140.  Heliotrope  Ringstone.  Helios,  his  head  sur¬ 
rounded  with  rays,  is  standing,  holding  a  sceptre  and  a 
whip  (in  his  character  of  charioteer);  a  chlamys  hangs 
down  his  back. 

For  similar  representations  on  gems  cf.  Furtwangler, 
Berk  Kat.,  Nos.  3481-3482.  Compare  also  the  famous 
fresco  of  Helios  from  Pompeii  now  at  Naples  (Museo 
Borbonico,  7,  pi.  55). 


IOO  CATALOGUE  OF  ENGRAVED  GEMS 

%  in.  x  ys  in.  (i  1.91  mm.  x  9.52  mm.);  Th.  %  in.  (2.38  mm.). 
King  Collection,  No.  122.  Unpublished.  Chipped  at  the  bot¬ 
tom.  Acc.  No.  81.6.172. 

141  Purple  Glass  Paste.  Melpomene,  the  muse  of 
tragedy,  standing  to  right  and  holding  a  tragic  mask  in 
one  hand;  behind  her  is  a  column. 

The  Muses  with  their  attributes  are  favorite  repre¬ 
sentations  in  every  branch  of  Roman  art — sculpture, 
painting,  pottery,  mosaics,  and  gems.  A  similar  composi¬ 
tion  to  that  on  our  stone  occurs  on  an  Italic  gem;  Furt- 
wangler,  Berl.  Kat.,  No.  917. 

%  in.  x  %  in.  (19.05  mm.  x  13.49  mm.);  Th.  in.  (3-97  mm.). 
Greau  Collection,  No.  1055.  Published  by  Froehner,  Greau 
Collection,  pi.  clxxiv,  41.  Convex  on  the  engraved  side.  A 
piece  is  missing  on  one  side;  the  surface  of  the  engraving  is  some¬ 
what  corroded.  Acc.  No.  17.194.39. 

ARTEMIS 

142  Garnet  (Hyacinthine)  Ringstone.  Head  of 
Artemis  in  profile  to  right;  her  hair  is  brushed  up  and  tied 
at  the  top  of  her  head;  in  the  field  are  a  bow  and  quiver. 
Careful,  delicate  work. 

in.  x%in.  (17.06  mm.  x  13. 1  mm.);Th.  %,  in.  (2.38  mm.). 
King  Collection,  No.  144.  Illustrated,  King,  Ant.  Gems  and 
Rings,  II,  copperplates,  first  group,  I,  4.  Convex  on  the  unen¬ 
graved  side.  Acc.  No.  81. 1. 66. 

ATHENA 

143  Green  Glass  Paste  with  blue  and  white  bands. 
Athena  standing  to  left  with  spear  and  shield,  pouring  a 
libation  over  an  altar,  from  which  a  snake  is  rising.  Fair 
work. 

%  in.  x  %  in.  (17.86  mm.  x  12.3  mm.);  Th.  %,  in.  (2.38  mm.). 
Greau  Collection,  No.  1053.  Published  by  Froehner,  Greau 
Collection,  pi.  clxxiv,  39.  Acc.  No.  17.194.40. 


GRAECO-ROMAN  PERIOD  IOI 

ARES 

l 

144  Sardonyx  Ringstone.  Ares,  bearded  and  fully 
armed,  with  cuirass  and  helmet,  stands  holding  his  spear 
in  one  hand  and  his  shield  in  the  other.  Careful  but 
rather  dry  work. 

This  type  can  be  identified  as  Mars  Ultor  (the  avenger) 
by  the  inscription  MARS  VLTOR  on  a  stone  with  a  similar 
representation  (cf.  Furtwangler,  A.  G.,  pi.  lxv,  35),  and 
by  the  inscription  MARTI  VLTORI  S.C.  on  coins  of 
Antoninus  Pius  with  the  same  figure  (cf.  Cohen,  Mon- 
naies  romaines,  II,  p.  323,  No.  550).  The  popularity  of 
this  type  both  on  gems  and  on  other  monuments  makes  it 
probable  that  it  is  copied  from  a  well-known  statue — 
perhaps  that  which  stood  in  the  famous  temple  of  Mars 
Ultor  on  the  Forum  Augustum  (cf.  Furtwangler,  Collec¬ 
tion  Somzee,  p.  64). 

%  in.  x  %  in.  (16.67  mm.  x  12.3  mm.);  Th.  %  in.  (4.36  mm.). 
King  Collection,  No.  163.  Unpublished.  Slightly  convex  on 
the  engraved  side.  Considerably  chipped  at  the  back.  Acc. 
No.  81.6.123. 


APHRODITE 

145  Plasma  Ringstone.  Venus Victrix  partlydraped, 
leaning  against  a  pillar;  in  one  hand  she  holds  an  apple,  in 
the  other  a  spear;  on  the  ground  are  a  shield  and  a 
helmet.  Fair  work. 

Aphrodite  with  the  attributes  of  victory  appears  with 
great  frequency  on  gems  and  coins,  though  the  type  has 
not  yet  been  certainly  identified  in  a  statue  (cf.  Bernoulli, 
Aphrodite,  p.  185).  For  gem  representations  cf.  Furt¬ 
wangler,  A.  G.,  pi.  xxxvii,  30,  and  xliv,  77,  78,  and  others 
there  quoted;  and  for  similar  representations  on  coins  of 
Octavius,  cf.  H.  A.  Grueber,  Coins  of  the  Rom.  Republic 
in  the  Brit.  Mus.,  II,  p.  10,  III,  pi.  lix,  8  and  9.  The  type 


102  CATALOGUE  OF  ENGRAVED  GEMS 


is  probably  the  same  as  that  on  the  seal  ring  of  Julius 
Caesar,  which  we  know  to  have  been  an  armed  Aphrodite 
(Dionysius  of  Halikarnassos,  XLIII). 

%  in.  x  2%  in.  (12.3  mm.  x  9.92  mm.);  Th.  %  in.  (4.36  mm.). 
King  Collection,  No.  169.  Unpublished.  Convex  on  the  en¬ 
graved  side.  Acc.  No.  81.6.67. 


EROS 

Representations  of  Eros  in  all  manner  of  attitudes  are 
extremely  popular  in  the  Graeco-Roman  period.  Even  in 
the  comparatively  small  selection  here  given  the  variety 
and  charm  of  these  motives  can  be  appreciated.  Numer¬ 
ous  other  representations  are  figured  in  Furtwangler, 
Berl.  Kat.,  Nos.  6769  fif. 

146  Banded  Agate  Ringstone  (brown  with  yellow 
band).  Eros  seated  on  a  cuirass  with  his  left  foot  on  a 
helmet,  and  leaning  on  a  sword  as  if  asleep  or  thinking;  in 
one  hand  he  holds  a  bow  and  arrow.  Careful  execution. 

in.  x  y2  in.  (17.46  mm.  x  12.7  mm.);  Th.  %  in.  (2.78  mm.). 
King  Collection,  No.  174.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  copperplates,  first  group,  v,  58.  Acc.  No.  81.6.68. 


roded.  Acc.  No.  17. 194.41. 


147  Green  Glass  Paste  with  blue 
and  white  bands.  Eros  standing  to  left 
readingfrom  ascroll;  behindhimisa pillar. 

<%in.  x2%in.  (17.86  mm.  x  1 1.5  1  mm.);  Th. 
%  in.  (2.78  mm.).  Greau  Collection,  No.  1052. 
Published  by  Froehner,  Greau  Collection,  pi. 
clxxiv,  38.  The  surface  is  considerably  cor- 


148  Carnelian  set  in  a  gold  ring  with  rounded  hoop 
and  plain  setting.  On  the  stone  is  engraved  Eros  leaning 
on  an  inverted  torch.  Cursory  execution. 

(As  set)  %  in.  x  %  in.  (14.29  mm.  x  10.71  mm.).  From  Cy¬ 
prus.  Cesnola  Collection.  Cf.  Myres,  Handbook,  No.  4233. 


Plate  43 

NO.  165 


Seilenos 


SARD 


GRAECO-ROMAN  PERIOD  103 

Illustrated,  Cesnola  Atlas,  III,  pi.  xxviii,  7.  Slightly  convex  on 
the  engraved  side.  A cc.  No.  C.  E.  28. 

149  Carnelian  Ringstone.  Two  Erotes  and  a 
panther;  one  Eros  is  seizing  the  panther  by  a  hind  leg, 
while  the  other  is  holding  up  a  stick  as  if  about  to  beat 
him.  Spirited  work. 

Vs  in.  x  %  in.  (9.52  mm.  x  10.71  mm.);  Th.  %  in.  (3.57  mm.). 
King  Collection,  No.  177.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  Iviii,  7;  Ant.  Gems  and  Rings,  II,  woodcuts, 
pi.  xxv  B,  5.  Slightly  convex  on  the  unengraved  side.  Acc. 
No.  81.6.72. 


150  Carnelian  Ringstone.  Eros  holding  a  trident 
and  riding  on  the  back  of  a  Capricorn;  below,  a  globe  and 
two  stars.  Attractive,  spirited  work. 

For  similar  representations  of  Capricorns  cf.  Furt- 
wangler,  Berl.  Kat.,  Nos.  6058  ff. 

2%  in.  x  V(6  in.  (9.92  mm.  x  1 1. 1 1  mm.);  Th.  %  in.  (3.57  mm.). 
King  Collection,  No.  138.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  xvi,  5;  Hdbk.  of  Engraved  Gems,  pi. 
xlviii,  5;  illustrated,  King,  Precious  Stones,  p.  290.  Acc.  No. 
81.6.70. 

15 1  Sard  Ringstone.  Eros  riding  on  a  dolphin  and 
playing  the  double  flutes.  Good,  careful  work. 

For  a  similar  composition  cf.  Furtwangler,  Berl.  Kat., 
Nos.  8453-8454;  compare  also  the  Eros  riding  a  dolphin 


104  CATALOGUE  OF  ENGRAVED  GEMS 

on  coins  of  Augustus,  Cohen,  Monnaies  romaines,  p.  ioo, 
No.  269. 

5-fe  in.  x  y8  in.  (7.94  mm.  x  9.52  mm.);  Th.  %,  in.  (2.38  mm.). 
King  Collection,  No.  180.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  copperplates,  second  group,  iii,  4;  illustrated,  King, 
Ant.  Gems,  pi.  iii,  4.  Slightly  convex  on  both  sides.  Acc.  No. 
81.6.69. 

152  Carnelian  Ringstone.  Two  Erotes  in  a  sail¬ 
boat;  one  is  steering,  the  other  fishing.  A  very  charming 
composition. 


151  '52 


For  a  similar  representation,  cf.  Furtwangler,  A.  G., 
pi.  xlii,  55. 

%  in.  x  y8  in.  (7.54  mm.  x  9.52  mm.);  Th.  54  in-  0-98  mm.). 
King  Collection,  No.  178.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  copperplates,  first  group,  iii,  27.  Acc.  No.  81.6.71. 

153  Yellow  Glass  Paste  set  in  a  plain  bronze  ring. 
A  figure  (Eros?)  is  flying  to  right  with  a  vase.  Cursory 
work. 

(As  set)  2^4  in.  x  %  in.  (8.33  mm.  x  8.33  mm.).  Greau  Collec¬ 
tion,  No.  1034.  Published  by  Froehner,  Greau  Collection,  pi. 
clxxiv,  20.  Convex  on  the  engraved  side.  The  bronze  is  cov¬ 
ered  with  a  greenish  patina.  The  surface  is  considerably  cor¬ 
roded.  Acc.  No.  17.194.42. 


HERMES 

154  Topaz  Ringstone.  Hermes,  standing  holding 
the  kejykeion  in  one  hand  and  the  chlamys  in  the  other; 


1 


GRAECO-ROMAN  PERIOD  IO5 

by  his  side  is  the  stump  of  a  palm-tree.  Good,  careful 
work. 

The  composition  is  probably  copied  or  adapted  from  a 
statue;  it  resembles  in  many  respects  the  type  repre¬ 
sented  by  the  Hermes  of  Andros  and  the  so-called  Anti- 
nous  of  the  Vatican;  which  latter  also  shows  the  palm-tree 
stump  (cf.  Scherer  in  Roscher’s  Lexikon,  under  Hermes, 
cols.  2414-2415). 

%  in.  x  %  in.  (15.08  mm.  x  8.33  mm.);  Th.  %  in.  (4.36  mm.). 
King  Collection,  No.  149.  Unpublished.  Convex  on  both  sides. 
Acc.  No.  81.6.74. 

155  Amethyst  Ringstone.  Hermes  leaning  against 
a  pillar,  holding  a  ram’s  head  in  one  hand  and  a  staff  in 
the  other.  He  wears  a  chlamys;  in  the  field  is  a  branch  or 
an  ear  of  wheat.  Fair  execution. 

The  composition  is  again  probably  borrowed  from  a 
statue,  perhaps  of  the  fifth  century.  It  occurs  frequently 
on  Greek  gems  (cf.  Furtwangler,  A.  G.,  pi.  xliv,  54,  and 
Berl.  Kat.,  Nos.  2713-2716).  That  Hermes  is  intended  is 
shown  by  the  presence  of  his  regular  attribute,  the  kery- 
keion,  on  some  of  the  other  stones.  The  ram  appears  as 
an  attribute  of  Hermes,  the  god  of  flocks  and  herds,  from 
archaic  Greek  times. 

%  in.  x  in.  (1 1.91  mm.  x  9.52  mm.);  Th.  %  in.  (3.57  mm.). 
King  Collection,  No.  148.  Unpublished.  Convex  on  the  en¬ 
graved  side.  Chipped  on  the  lower  part.  Acc.  No.  81 .6.75. 

156  Colorless  Glass  Paste.  Hermes  sitting  on  a 
rock  to  left  and  holding  a  kerykeion. 

This  type  evidently  goes  back  to  the  same  original  as 
the  famous  bronze  seated  Hermes  from  Herculaneum  (cf. 
C.  Scherer  in  Roscher’s  Lexikon,  under  Hermes,  cols. 
2418-2419).  It  occurs  frequently  on  gems  of  this  period, 
e.  g.,  Furtwangler,  A.  G.,  pi.  xliv,  64,  and  Berl.  Kat.,  Nos. 


106  CATALOGUE  OF  ENGRAVED  GEMS 

2718-2731.  The  composition  expresses  admirably  the 
idea  of  the  messenger  god  in  momentary  repose. 

%  in.  x  %  in.  (15.08  mm.  x  10.71  mm.);Th.  %,  in.  (3.97  mm.). 
Greau  Collection,  No.  1047.  Published  by  Froehner,  Greau 
Collection,  pi.  clxxiv,  33.  Convex  on  the  engraved  side.  The 
surface  is  somewhat  corroded.  Acc.  No.  17.194.43. 

157  Sard  Ringstone.  Bust  of  Hermes  with  wings 
on  his  head,  in  profile  to  right;  in  the  field  a  kerykeion. 
The  engraving  is  unusually  shallow. 

Compare  Furtwangler,  Berl.  Kat.,  No.  2748. 

%  in.  x  %  in.  ( 1 5 .48  mm.  x  12.3  mm.);  Th.  ys  in.  (3.17  mm.). 
King  Collection,  No.  153.  Unpublished.  Convex  on  both 
sides.  Acc.  No.  81.6.216. 

158  Carnelian  Ringstone.  Bust  of  Hermes  wear¬ 
ing  a  chlamys,  in  profile  to  right;  in  the  field  is  a  kerykeion. 
Careful  work. 

Fora  similar  representation  cf.  Furtwangler,  Berl.  Kat., 
No.  6941. 

%  in.  x%  in.  (13. 1  mm.  x  10.71  mm.);  Th.  %  in.  (3.57  mm.). 
King  Collection,  No.  154.  Unpublished.  Convex  on  both 
sides.  A  piece  from  the  bottom  is  missing.  Acc.  No.  81.6.76. 

159  Carnelian  Ringstone.  Bust  of  Hermes  repre¬ 
sented  as  a  boy  wearing  the  petasos,  in  profile  to  right; 
in  the  field,  a  kerykeion.  Good  execution. 

For  similar  representations  cf.  Furtwangler,  Berl.  Kat., 
Nos.  4865-4869. 

Yi  in.  x  in.  (12.7  mm.  x  13.49  mm.);  Th.  %  in.  (2.78  mm.). 
King  Collection,  No.  152.  Unpublished.  Slightly  convex  on 
both  sides.  Acc.  No.  81 .6.77. 

160  Purple  Glass  Paste.  Head  of  Hermes,  repre¬ 
sented  as  a  boy  wearing  a  winged  cap;  in  the  field  are  a 
kerykeion  and  a  tortoise.  Sketchy  execution. 


Plate  44 

NO.  170 


Satyrs 


sard 


GRAECO-ROMAN  PERIOD  IO7 

For  similar  representations  cf.  Furtwangler,  Berl.  Kat., 
Nos.  4865  ff. 

%  in.  x  %  in.  (13.89  mm.  x  i2.3mm.);Th.  54in.  (3.97  mm.). 
Greau  Collection,  No.  1023.  Published  by  Froehner,  Greau 
Collection,  pi.  clxxiv,  9.  Convex  on  the  engraved  side.  Acc. 
No.  17.194.44. 


DIONYSOS 

161  Banded  Agate  Ringstone.  Dionysos,  repre¬ 
sented  as  a  boy,  is  standing  by  a  vine  holding  a  cup  in  one 
hand  and  a  bunch  of  grapes  in  the  other;  in  the  ground  is 
placed  a  flaming  torch.  Careful,  but  rather  hard  work. 

This  type  is  evidently  copied  from  sculpture,  for  it 
occurs  in  several  extant  statues  of  the  Roman  period  (cf. 
especially  Reinach,  Repertoire  de  la  statuaire,  1,  pi.  679, 
1586). 

%  in.  x  %  in.  (15.08  mm.  x  13. 1  mm.);  Th.  %  in.  (2.38  mm.). 
King  Collection,  No.  183.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  lviii,  2;  Ant.  Gems  and  Rings,  II,  woodcuts, 
pi.  xxvii  A,  2;  illustrated,  King,  Precious  Stones,  p.  66.  Consid¬ 
erably  chipped  on  the  lower  part.  Acc.  No.  8 1 .6.78. 

162  Carnelian  set  in  a  geld  ring  with 
a  thin  hoop  rising  into  a  high  oval  bezel. 

On  the  stone  is  engraved  young  Dionysos, 
gracefully  leaning  on  a  column,  holding  a 
thyrsos  and  kantharos;  he  has  a  mantle 
around  the  lower  part  of  his  body,  and  by 
his  side  is  a  panther.  Fair  execution. 

The  type  is,  like  the  preceding,  evidently  borrowed  from 
sculpture;  cf.,  e.  g.,  Reinach,  Repertoire  de  la  statuaire, 
I,  pis.  678,  1 579,  and  678  B,  1619  C.  For  other  represen¬ 
tations  of  it  on  gems  cf.  Furtwangler,  A.  G.,  pi.  xliii,  36. 

(As  set)  3J4  in.  x  in.  (12.3  mm.  x  1 1.1 1  mm.).  From  Cyprus. 
Cesnola  Collection.  Cf.  Myres,  Handbook,  No.  4241.  Illus¬ 
trated,  Cesnola  Atlas,  111,  pi.  xxviii,  10,  and  Cyprus,  pi.  xli,  2. 


108  CATALOGUE  OF  ENGRAVED  GEMS 

Convex  on  the  engraved  side.  The  gold  of  the  setting  is  cracked 
in  one  place.  Acc.  No.  C.  E.  29. 

163  Carnelian  Ringstone.  Bearded  head  (of 
Dionysos?)  in  full  front,  not  very  carefully  worked. 
Around  it  a  Cypriote  inscription  which  has  been  read 
as  follows:  te.ke.to.te.a.mu.ko.lo.  ( e)0??/ce  rode  ’A/xvkXQ 
(cf.  Myres,  Handbook,  p.  543,  No.  4291).  On  the  back 
of  the  stone  is  an  Arabic  inscription  “Ishmael.” 

%2  in.  x  %  in.  (7.14  mm.  x  12.3  mm.);  Th.  %  in.  (3.57  mm.). 
From  Cyprus.  Cesnola  Collection.  Cf.  Myres,  Handbook,  No. 
4291,  and  Appendix,  p.  5431  Cesnola  Atlas,  III,  pi.  xxviii,  5, 
and  Cyprus,  pi.  xli,  a.  Convex  on  the  engraved  side.  Acc. 
No.  C.  E.  30. 


SEILENOI  AND  SATYRS 

Seilenoi  and  Satyrs  in  all  manner  of  motives  were  popu¬ 
lar  subjects  in  Hellenistic  and  Roman  times.  I  nstead  of  the 
graceful,  idyllic  youths  characteristic  of  the  fourth  cen¬ 
tury,  a  rather  coarser,  more  realistic  type  was  developed, 
corresponding  to  the  artistic  trend  of  the  period.  A 
selection  of  typical  representations  is  included  in  our  collec¬ 
tion;  cf.  also  Furtwangler,  A.  G.,  pi.  xlii,  52  ff. 

164  Sard  Ringstone.  Seilenos,  standing  to  left, 
playing  the  double  flutes.  A  mantle  is  slung  over  one 
shoulder.  Careful  work. 

For  replicas  of  the  same  subject  cf.  Murray-Smith, 
Cat.  of  Engraved  Gems  in  the  Brit.  Mus.,  No.  994,  and 
Furtwangler,  Berk  Kat.,  No.  3957. 

%  in.  x%in.  (19.45  mm.  x  1 1.91  mm.);Th.  %  in.  (2.78  mm.). 
King  Collection,  No.  187.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  lviii,  3;  Ant.  Gems  and  Rings,  II,  woodcuts, 
pi.  xxx,  3;  illustrated,  King,  Precious  Stones,  p.  48.  Convex 
on  the  unengraved  side.  Slightly  chipped.  Acc.  No.  81.6.79. 

165  Sard  Ringstone.  Seilenos  with  staff  and  kan- 
tharos;  he  is  wreathed  and  wears  an  animal’s  skin  on  his 


Plate  45 

NO.  I71 


Satyr 


SARD 


GRAECO  —  ROMAN  PERIOD 


109 

back;  on  the  ground  is  a  candelabrum.  Fine,  careful 
work;  the  fat,  squatty  figure  of  Seilenos  is  well  charac¬ 
terized. 

_%in.x  %  in.  (13.49  mm.  x  n.11  mm.);Th.  %  in.  (2.78  mm.). 
King  Collection,  No.  186.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  xxix,  4;  illustrated,  King,  Ant.  Gems,  p. 
442.  A  small  piece  near  the  bottom  of  the  stone  is  chipped  off. 
Acc.  No.  81.6.80. 

166  Carnelian  Ringstone.  Upper  part  of  a  reclining 
Seilenos  with  the  right  hand  raised;  a  rough  cable  border 
surrounds  the  representation.  Fine  Hellenistic  or  Graeco- 
Roman  work. 

The  subject  exists  in  a  number  of  ancient  replicas  (cf. 
Furtwangler,  A.  G.,  pi.  xli,  34,  and  the  references  given 
in  the  text)  and  was  copied  by  Florentine  artists  of  the 
fifteenth  century  (cf.  Furtwangler,  loc.  cit.). 

%  in.  x  2%j  in.  ( 14.29  mm.  x  1 1 .5 1  mm.) ;  Th.  ^2  in.  (3.97  mm.). 
King  Collection,  No.  185.  Published  by  King,  Ant.  Gems  and 
Rings,  1 1,  copperplates,  first  group,  v,  54.  Slightly  convex  on  the 
unengraved  side.  Somewhat  chipped  around  the  edge.  Acc 
No.  81 .6.81 . 

167  Carnelian  Ringstone.  Bust  of  Seilenos  in  pro¬ 
file  to  left,  wearing  an  ivy  wreath  on  his  bald  head. 
Careful  execution. 

in.  X  %  in.  (13.89  mm.  x  10.71  mm.);Th.  %in.  (4.76  mm.). 
King  Collection,  No.  184.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  Ixi,  3;  Ant.  Gems  and  Rings,  II,  woodcuts, 
pi.  xxix,  2.  Convex  on  both  sides.  Slightly  chipped  in  one 
place.  Acc.  No.  81.6.82. 

168  Sardonyx  set  in  an  eighteenth-century  ring. 
On  the  stone  is  engraved  a  mask  of  Seilenos  with  ivy 
wreath,  in  profile  to  right;  below  is  inscribed  the  letter  A. 
Fair  work. 


1 10  CATALOGUE  OF  ENGRAVED  GEMS 

(As  set)  %  in.  x  %  in.  (9.92  mm.  x  9.52  mm.).  King  Collec¬ 
tion,  No.  192.  Unpublished.  Acc.  No.  81.6.83. 

169  Green  Glass  Paste  with  blue  and  white  bands. 
Satyr  pouring  out  wine  from  a  wine-skin  into  a  two- 
handled  vase.  Spirited  work. 

%  in.  x%in.  (1 1.91  mm.  x  10.32  mm.):Th.  %  in.  (2.38  mm.). 
Gr6au  Collection,  No.  1050.  Published  by  Froehner,  Greau 
Collection,  pi.  clxxiv,  36.  Slightly  chipped  around  the  edge. 
Acc.  No.  17.194.46. 

170  Sard  Ringstone.  Two  Satyrs  kneeling  before  a 
krater,  one  pouring  out  wine  for  the  other;  around  the 
representation  is  a  cable  border  and  in  the  exergue  a  zig¬ 
zag  pattern.  Attractive,  lifelike  composition. 

yg  in.  x  %  in.  (9.52  mm.  x  1 1.1 1  mm.);  Th.  %2  in-  (2.38  mm.). 
King  Collection,  No.  188.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  lviii,  4;  Ant.  Gems  and  Rings,  II,  woodcuts, 
pi.  xxviii,  2  and  copperplates,  first  group,  iii,  30.  Slightly  convex 
on  the  engraved  side.  Acc.  No.  81.6.84. 

17 1  Sard  Ringstone.  Bust  of  a  youthful  Satyr,  in 
full  front,  wearing  a  faun’s  skin  and  an  ivy  wreath.  Fine, 
realistic  treatment  of  the  head,  perhaps  still  Hellenistic. 

For  a  similar  representation  cf.  Furtwangler,  A.  G., 
pi.  xlix,  23. 

y2  in.  x  14  in.  (12.7  mm.  x  1 1.1 1  mm.);  Th.  %,  in.  (2.38  mm.). 
King  Collection,  No.  189.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  xxix,  1,  and  copperplates,  first  group, 
i,  7.  Slightly  convex  on  the  engraved  side.  Acc.  No.  81 .6.85. 


pan 

172  Plasma  Ringstone.  Pan  teaching  Daphnis  to 
play  the  syrinx;  both  are  seated  on  a  rock.  Fair  execu¬ 
tion. 

This  composition  is  known  from  a  large  number  of  rep- 


Plate  46 


Ill 


GRAECO-ROMAN  PERIOD 

licas  in  the  sculpture  of  the  period,  and  evidently  went 
back  to  a  famous  original— perhaps  to  be  identified  with  a 
group  mentioned  by  Pliny;  on  this  subject  cf.  K.  Wernicke 
in  Roscher's  Lexikon,  under  Pan,  cols.  1453  ff.,  who  also 
gives  a  list  of  replicas  in  marble,  bronze,  and  on  gems; 
the  last  include  two  stones  in  the  Berlin  Museum,  Furt- 
wangler,  Berl.  Kat.,  Nos.  2317  and  2416. 

2%  in.  x  %  in.  (9.13  mm.  x  7.54  mm.);  Th.  1%  in.  (4.36  mm.). 
K.ing  Collection,  No.  204.  Unpublished.  Convex  on  both 
sides.  Acc.  No.  81.6.86. 

173  Carn ELIAN  Ringstone.  A  bearded  Pan  and  a 
goat,  butting.  Rough  but  spirited  execution. 


•73 


The  subject  is  a  favorite  one  in  Roman  art;  it  occurs 
on  marble  reliefs,  wall  paintings,  pottery,  gold  and  silver- 
work,  and  especially  on  gems  (cf.  K.  Wernicke  in  Roscher’s 
Lexikon,  under  Pan,  col.  1470  f.). 

^in.  x^in.  (7.14  mm.  x  8.33  mm.);  Th.  %  in.  (1.98  mm.). 
Kmg  Collection,  No.  203.  Published  by  King,  Ant.  Gems  and 
ings,  II,  woodcuts,  pi.  xxx,  11;  Hdbk.  of  Engraved  Gems,  pi. 
lxi,io.  Chipped  around  the  edge.  Acc.  No.  81 .6.87. 

174  Red  Jasper  Ringstone.  Pan  with  syrinx  and 
hooked  staff  is  dancing  before  a  large  mask  and  a  tree, 
upon  which  a  goat  is  browsing.  Sketchy  execution. 

%in.  x4%in.  (12.3  mm.  x  17.06  mm.);  Th.  %  in.  (4.36  mm.). 
King  Collection,  No.  202.  Published  by  King,  Ant.  Gems  and 
Kings,  II,  woodcuts,  pi.  xxxi,  12;  illustrated  in  King,  Ant.  Gems, 
p.  380.  Slightly  convex  on  the  engraved  side.  Acc.  No. 
81 .6.88. 


112  CATALOGUE  OF  ENGRAVED  GEMS 


175  Red  Jasper  Ringstone.  Mask  of  Pan  in  three- 
quarters  view  to  right,  wearing  a  wreath  of  ivy  deeply 
engraved.  Good,  spirited  execution. 


%  in.  x  Yt  in.  (14.68  mm.  x  12.7  mm.);  Th.  Ya  in.  (2.38  mm.). 
King  Collection,  No.  201.  Unpublished.  Convex  on  the  en¬ 
graved  side.  Acc.  No.  81.6.89. 

176  Carnelian  Ringstone.  A  herm  of  Priapos,  the 
god  of  fertility.  Careful  work. 

%  in-  x  %  in.  (1 5.08  mm.  x  12.3  mm.);  Th.  %  in.  (5.95  mm.). 
King  Collection,  No.  205.  Unpublished.  Convex  on  both 
sides.  Acc.  No.  81.6.90. 


ASKLEPIOS 

177  Carnelian  Ringstone.  Asklepios  and  his  daugh¬ 
ter  Hygieia,  facing  each  other.  Hygieia  is  represented  in 
her  characteristic  attitude  of  feeding  a  serpent;  Asklepios 
has  a  staff  around  which  a  serpent  is  wound.  In  the  field 
is  the  inscription,  AN91M0Y,  of  Anthimos,  the  owner  of 
the  seal.  Rather  sketchy  execution. 

%in.  x%in.  (16.67  mm.  x  12.3  mm.);Th.  %  in.  (3.57  mm.). 
King  Collection,  No.  124.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  copperplates,  first  group,  iv,  42.  Convex  on  the  en¬ 
graved  side;  a  portion  of  the  back  has  been  cut  away.  Acc. 
No.  81.6.91. 


GRAECO-ROMAN  PERIOD  113 

178  Plasma  Ringstone.  Asklepios,  partly  draped, 
leaning  on  a  staff  around  which  a  serpent  is  wound.  Fair 
execution. 

The  type  is  apparently  taken  from  a  statue.  A  bronze 
statuette  in  the  same  pose  is  in  the  Naples  Museum  (cf. 
Thraemer  in  Roscher’s  Lexikon,  under  Asklepios,  col. 
636.  Schema  IV).  Compare  also  the  coins,  Cohen, 
Monnaiesromaines,  1 1 1,  p.  204,347;  IV,  pp.  1 75  f.,  303-312. 
For  a  similar  representation  on  a  gem,  cf.  Furtwangler, 
A.  G.,  pi.  xliv,  45. 

2%  in.  x  %  in.  (10.71  mm.  x  7.94  mm.);  Th.  y8  in.  (3.17  mm.). 
King  Collection,  No.  128.  Unpublished.  Convex  on  both 
sides.  Acc.  No.  81.6.92. 

179  Carnelian  Ringstone.  Head  of  Asklepios  in 
profile  to  right;  in  the  field  is  the  attribute  of  the  god,  a 
staff  with  a  serpent  wound  around  it.  Fine,  careful  work 
in  the  classicist  style. 

This  beautiful  type  probably  goes  back  to  a  fifth-century 
original  of  the  school  of  Pheidias.  For  similar  repre¬ 
sentations  on  Graeco-Roman  gems,  cf.  Furtwangler,  A. 
G.,  pi.  xl,  35,  and  Berk  Kat.,  No.  4823. 

%  in.  x  %  in.  (17.46  mm.  x  18.25  mm.);  Th.  y8m.  (3.17  mm.). 
King  Collection,  No.  126.  Unpublished.  Convex  on  both 
sides.  A  piece  from  the  lower  side  is  missing.  Acc.  No.  81 .6.93. ' 

180  Carnelian  Ringstone.  Head  of  Asklepios  with 
a  serpent  wound  around  his  neck.  Fair  work. 

%  in.  x  %  in.  (n.ii  mm.x21.43  mm.);Th.Kin.  (3.17mm.).1 
King  Collection,  No.  125.  Unpublished.  Convex  on  the  un¬ 
engraved  side.  Acc.  No.  81 .6.94. 

PERSONIFICATIONS  OF  CITIES,  ETC. 

181  Red  Jasper  Ringstone.  Head  of  a  woman 
wearing  a  mural  crown  and  veil,  in  profile  to  left. 


114  CATALOGUE  OF  ENGRAVED  GEMS 

probably  the  personification  of  the  Fortune  (Tyche)  of 
a  city. 

For  similar  representations  cf.  Furtwangler,  Berl.  Kat., 
Nos.  2844,  2845  (there  called  Kybele). 

%in.x%in.  (16.27  mm.  x  10.32  mm.);  Th.  %^in.  (3.57  mm.). 
King  Collection,  No.  66.  Published  by  King,  Hdbk.  of  Engraved 
Gems,  pi.  xli,  2;  Ant.  Gems  and  Rings,  II,  woodcuts,  pi.  x,  2; 
illustrated,  King,  Precious  Stones,  p.  343.  Slightly  convex  on 
the  unengraved  side.  Acc.  No.  81.6.95. 

182  Carnelian  Ringstone  of  quadrangular  shape. 
Head  of  Lybia  in  three-quarters  view,  with  an  ele¬ 
phant’s  hide  over  her  head.  Careful  but  hard  work¬ 
manship. 

For  similar  representations  cf.  Furtwangler,  Berl.  Kat. 
Nos.  4883  ff. 

>n.  x  y2  in.  (16.27  mrr>.  x  12.7  mm.);  Th.  %  in.  (4.36  mm.). 
King  Collection,  No.  229.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  copperplates,  first  group,  ii,  20.  Convex  on  the  en¬ 
graved  side.  Acc.  No.  81 .6.96. 

183  Plasma  Ringstone.  Female  bust  with  helmet, 
in  profile  to  right;  the  left  arm  holds  some  object  and  rests 
on  a  base  ending  in  a  ram’s  head  at  either  side; on  the  front 
one  a  bird  is  perched.  In  the  field  is  an  ant.  For  a  some¬ 
what  similar  bust,  also  with  the  ram’s  head  introduced, 
cf.  one  of  the  heads  on  the  coins  of  the  Rustia  gens,  struck 
under  Augustus,  with  the  inscription  FORTUNAE  AN- 
TIAT(ES)  Q.  RUSTIUS  (Stevenson,  Diet,  of  Rom.  Coins, 
p.  394,  and  R.  Peter  in  Roscher’s  Lexikon,  under  Fortuna, 
col.  1547).  Our  head  probably  therefore  also  represents 
the  Fortuna  of  the  city  of  Antium. 

=%  in.  x  %  in.  (13.1  mm.  x  10.71  mm.);  Th.  %  in.  (3.57  mm.). 
King  Collection,  No.  209.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  pi.  xxxv,  1;  illustrated.  King,  Precious  Stones,  p.  135- 
Convex  on  the  engraved  side.  Acc.  No.  81.6.97. 


Plate  48 

NO.  179 


Asklepios 


CARNELIAN 


GRAECO-ROMAN  PERIOD  II5 

184  Carnelian  Ringstone.  Bust  of  a  river-god 
with  cornucopia  and  a  reed.  Good,  careful  work. 

%;in.  x%in.  (14.29mm.  x  1 1.51  mm.);Th.  %in.  (3.57mm.). 
King  Collection,  No.  91.  Published  by  King,  Ant.  dems  and 
Rings,  II,  copperplates,  second  group,  iv,  16;  illustrated,  King, 
Ant.  Gems,  pi.  iv,  16.  Very  slightly  convex  on  both  sides. 
Considerably  chipped.  Acc.  No.  81.6.98. 

ISIS- FORTUNA 

185  Amethyst  Ringstone.  Isis-Fortuna  standing  to 
left  holding  a  cornucopia  and  a  rudder;  on  her  head  is  a 
lotos  flower.  In  the  field  the  inscription  KCOKH.  Fair 
execution. 

Fortuna  with  attributes  of  Isis  is  a  popular  figure  in 
Roman  art  (cf.  R.  Peter  in  Roscher’s  Lexikon,  col.  1530 
f.,  who  gives  a  list  of  such  monuments,  chiefly  bronzes, 
wall  paintings,  and  coins).  Besides  the  lotos  flower  she 
sometimes  carries  the  sistrum,  the  snake,  and  other  Isis 
attributes.  For  representations  of  Fortuna  without  Isis 
attributes  on  gemt  in  our  collection  cf.  Nos.  360-364. 

%  in.  x  %  in.  (19.05  mm.  x  14.29  mm.);  Th.  %  in.  (6.75  mm.). 
King  Collection,  No.  210.  Unpublished.  Convex  on  both 
sides.  Said  to  be  from  Antioch.  Acc.  No.  81.6. 187. 

nemesis 

186  Sardonyx  Ringstone.  Winged  Nemesis,  god¬ 
dess  of  Fate,  standing  to  left;  with  one  hand  she  lifts  a  cor¬ 
ner  of  her  drapery  at  the  shoulder,  in  the  other  she  holds  a 
branch.  Graceful  but  rather  sketchy  work. 

With  the  Greeks  Nemesis  was  regarded  as  a  goddess, 
not  merely  of  retribution,  but  of  Fate,  like  Tyche;  though 
her  hatred  of  human  arrogance  (il/3pis)  was  always  one 
of  her  qualities.  We  know  of  two  famous  cult  statues 
erected  in  her  honor:  one  of  two  Nemeseis  at  Smyrna,  of 


Il6  CATALOGUE  OF  ENGRAVED  GEMS 

the  archaic  period,  the  other,  dating  of  the  fifth  century, 
at  Rhamnus  (cf.  O.  Rossbach  in  Roscher’s  Lexikon,  under 
Nemesis,  cols.  143  ff.).  There  is  a  detailed  description 
of  the  latter  by  Pausanias,  1,  33,  2  f.,  and  a  few  remnants 
of  the  original  statue  are  in  the  British  Museum  (Murray- 
Smith,  Cat.  of  Sculpture  in  the  Brit.  Mus.,  No.  460).  The 
Smyrna  Nemeseis  occur  with  great  frequency  on  Roman 
coins  (cf.  B.  V.  Head,  Cat.  of  Grk.  Coins  in  the  Brit.  Mus., 
Ionia,  p,  249  f.,  pi.  26  f.,  and  H.  Posnansky,  Nemesis  und 
Adriasteia,  in  Breslauer  philologische  Abhandlungen,  V, 
Heft  2,  Breslau  1890).  The  attitude  of  lifting  a  corner  of 
the  drapery  at  the  shoulder  always  appears  on  these,  and 
was  apparently  copied  from  the  original  cult  statues. 
It  seems  to  have  no  special  significance,  just  as  the  motive 
of  lifting  a  corner  of  the  lower  part  of  the  garment  is 
merely  a  characteristic  pose  of  archaic  female  statues  (cf. 
Rossbach,  op.  cit.,  col.  146,  who  refutes  the  prevalent  idea 
that  Nemesis  is  spitting  into  her  bosom  to  avert  evil!). 

The  attributes  of  Nemesis  include  a  branch  (perhaps  the 
apple  branch  which  the  Rhamnus  statue  is  said  to  have 
held),  a  wheel,  a  rule,  reins,  and  a  griffin;  she  appears 
both  with  and  without  wings.  Though  there  are  some 
representations  of  Nemesis  also  in  sculptural  and  pictorial 
art,  by  far  the  larger  number  are  on  Roman  coins  and  gems 
(cf.  Rossbach,  op.  cit.,  cols.  160  ff.,  and  Furtwangler, 
A.  G.,  pi.  xxxix,  28,  and  references  given  in  the  text). 

2%  in.  x  %  in.  (19.84  mm.  x  13. 1  mm.);  Th.  \i  in.  (6.35  mm.). 
King  Collection,  No.  214.  Published  by  Osborne,  Engraved 
Gems,  pi.  xxv,  4.  Strongly  convex  on  the  engraved  side.  Acc. 
No.  81.6.99. 


BONUS  EVENTUS 

187  Plasma  Ringstone.  Bonus  Eventus  (the  Ro¬ 
man  genius  of  Good  Fortune),  represented  as  a  youth, 


Plate  49 


GRAECO-ROMAN  PERIOD  117 

standing  to  right  holding  a  dish  of  fruit  and  a  branch; 
below  is  an  ear  of  wheat.  Fair  work. 

Bonus  Eventus  is  a  favorite  figure  in  Roman  art,  es¬ 
pecially  on  coins  and  gems  (cf.,  e.  g.,  Furtwangler,  A.  G., 
pi.  xliv,  9  ff.).  The  same  type  being  repeated  many  times, 
it  is  probable  that  it  was  derived  from  a  famous  statue. 
It  has  been  suggested  that  this  was  one  by  Euphranor, 
set  up  in  Rome,  and  originally  perhaps  representing  Trip- 
tolemos  (cf.  Furtwangler,  Masterpieces  of  Greek  Sculp¬ 
ture,  Sellers’  translation,  p.  349  f.;  and  Wissowa  in  Rosch- 
er’s  Lexikon,  under  Bonus  Eventus,  col.  796). 

14  in.  x  %  in.  (12.7  mm.  x  9.13  mm.  );  Th.  %  in.  (4.36  mm.). 
King  Collection,  No.  1 16.  Unpublished.  Convex  on  the  en¬ 
graved  side.  Acc.  No.  81.6. 100. 

NIKE 

188  Blue  Glass  Paste.  Nike,  partly  draped,  ap¬ 
parently  erecting  a  trophy.  Fair  execution. 

Nike  crowning  a  trophy  and  Nike  writing  on  a  shield 
are  common  representations  on  coins  and  gems  (cf.,  e.  g., 
Babelon,  Monnaies  de  la  republique  romaine,  1,  pp.  41, 
49,  56,  etc.). 

1%  in.  x  %  in.  (25.8  mm.  x  19.05  mm.);  Th.  in.  (3.57  mm.). 
Greau  Collection,  No.  1064.  Published  by  Froehner,  Greau 
Collection,  pi.  clxxiv,  50.  Slightly  chipped  in  one  place.  Acc. 
No.  17.194.45. 

189  Brownish  Chalcedony  Ringstone.  Nike  sacri¬ 
ficing  a  bull  Fine,  careful  work. 

For  a  similar  representation  cf.  Furtwangler,  A.  G., 
pi.  xlix,  19. 

Nike  conceived  in  a  sacrificial  capacity  is  a  popular 
subject  in  the  Roman  period  (cf.,  e.  g.,  on  gems,  Furt¬ 
wangler,  A.  G.,  pi.  xlix,  19,  Berl.  Kat.,  Nos.  3572,  3577, 
6250,  6732;  and  on  coins,  Cohen,  Monnaies  romaines,  I, 


Il8  CATALOGUE  OF  ENGRAVED  GEMS 

63,  8).  The  idea,  however,  originated  in  Greek  times; 
thus  the  reliefs  of  the  Nike  balustrade  on  the  Akropolis 
at  Athens  include  two  Victories  sacrificing  a  bull.  On  the 
later  adaptations  of  this  group  cf.  H.  Bulle  in  Roscher’s 
Lexikon,  under  Nike,  col.  346. 

y2  in.  x  %  in.  (12.7  mm.  x  10.32  mm.);  Th.  %  in.  (2.38  mm.). 
King  Collection,  No.  159.  Unpublished.  Convex  on  the  en¬ 
graved  side.  Acc.  No.  81.6.101. 


190  Carnelian  Ringstone.  Nike,  holding  a  wreath 
and  palm  branch,  is  mounted  on  a  chariot  drawn  by  two 
serpents.  Sketchy  execution. 

Nike  in  this  general  attitude  with  wreath  and  palm 
branch,  but  standing  on  a  globe  instead  of  in  a  chariot, 
occurs  with  great  frequency  on  Roman  coins  in  the 
time  of  Augustus  and  later.  It  probably  reproduced  a 
well-known  statue  of  Nike  in  the  Curia  Julia,  which  Augus¬ 
tus  dedicated  after  the  Battle  of  Actium  (cf.  H.  Bulle  in 
Roscher’s  Lexikon,  under  Nike,  co’.  354  f.).  Compare 
our  gem  No.  379. 

%  in.  x  Yt  in.  (8.73  mm.  x  12.7  mm.);  Th.  %  in.  (3.57  mm.). 
King  Collection,  No.  158.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  liv,  5;  Ant.  Gems  and  Rings,  II,  woodcuts, 
pi.  xxvi,  10;  illustrated,  King,  Precious  Stones,  p.  275.  Convex 
on  both  sides.  There  is  a  chip  at  one  side.  Acc.  No.  81.6.102. 

191  Garnet  (Pyrope)  Ringstone.  Nike  seated  to 
left  giving  a  butterfly  to  Eros.  A  charming  composition, 
skilfully  adapted  to  a  very  small  space. 

%  in.  x  %  in.  (6.75  mm.  x  5.95  mm.);  Th.  Ke  in.  (1.59  mm.). 
King  Collection,  No.  176.  Unpublished.  Convex  on  the  en¬ 
graved  side,  concave  on  the  other.  Acc.  No.  81.6.103. 


192  Carnelian  Ringstone.  Nike  holding  a  branch 
and  offering  a  sucking  pig  at  an  altar  decorated  with  a 


Plate  50 

NO.  189 


Nike 


CHALCEDONY 


GRAECO-ROMAN  PERIOD  I  19 

bull’s  head.  In  the  exergue  a  zigzag  pattern  with  dots. 
Fair  execution. 

in.  x  3?4  in.  (19.45  mm.  x  13.1  mm.);  Th.  y6  in.  (4.76  mm.). 
From  Cyprus.  Cesnola  Collection.  Cf.  Myres,  Handbook, 
No.  4285.  Illustrated,  Cesnola  Atlas,  Ill,  pi.  xxxi,  7.  Convex 
on  the  engraved  side.  Acc.  No.  C.  E.  31. 

193  Banded  Agate  Ringstone.  Female  head  in 
profile  to  right,  wearing  a  wreath.  She  is  characterized 
as  Nike  by  the  wings  at  the  nape  of  her  neck.  Fair  work. 

For  similar  representations  cf.  Furtwangler,  Berl.  Kat., 
Nos.  4905-4908. 

2%4  in.  x  ys  in.  (1 1 .5  1  mm.  x  9.52  mm.) ;  Th.  in.  (3.17  mm.). 
King  Collection,  No.  160.  Unpublished.  Slightly  chipped  on 
the  edge.  Acc.  No.  81.6.104. 

194  Purple  Glass  Paste  with  white  band.  Woman 
carrying  booty  from  the  chase;  she  holds  a  boar  by  the 
leg,  while  a  rabbit  and  two  birds  are  hanging  from  a  pine 
branch  over  her  shoulder.  She  is  warmly  clad  in  a  chiton, 
himation,  headdress,  and  shoes.  Attractive  composi¬ 
tion. 

The  woman  can  be  identified  as  one  of  the  four  Seasons, 
or  Horai,  since  the  same  figure  occurs  on  the  relief  of  the 
Seasons  in  the  British  Museum  (cf.  Walters,  Cat.  of  Ter¬ 
racottas  in  the  Brit.  Mus.,  D  583-589).  She  there  repre¬ 
sents  Winter.  For  similar  representations  on  other  monu¬ 
ments  cf.  the  references  cited  by  Walters,  loc.  cit. 

%  in.  x  ys  in.  (16.67  mm.  x  9.52  mm.);  Th.  %2  in.  (2.38  mm.). 
From  Cyprus.  Cesnola  Collection.  Cf.  Myres,  Handbook,  No. 
4296.  The  surface  of  the  engraving  is  considerably  blurred. 
Acc.  No.  C.  E.  32. 

HEROES — HERAKLES 

195  Carnelian  Ringstone.  Herakles  sitting  on  a 
rock  and  holding  on  his  knee  his  infant  son  Telephos;  the 


120  CATALOGUE  OF  ENGRAVED  GEMS 

latter  is  holding  out  a  branch  to  the  doe  which  suckled 
him;  behind  Herakles  is  a  small  figure,  probably  the 
shepherd  who  found  Telephos.  A  tree  indicates  the  out- 
of-door  setting  of  the  scene.  The  execution  is  not  very 
careful. 

The  subject  of  Herakles  with  his  son  Telephos  is  not 
found  in  classical  art  before  the  Hellenistic  period.  It 
occurs  on  the  Pergamene  altar  and  also  on  various  monu¬ 
ments  of  the  Roman  Imperial  period,  on  terracotta  reliefs, 
wall  paintings,  coins,  and  gems  (cf.  Furtwangler  in  Rosch- 
er’s  Lexikon,  under  Herakles,  col.  2247).  In  these  Her¬ 
akles  is  generally  watching  Telephos  being  suckled  by  the 
hind. 

%  in.  x  Yi  in.  (10.32  mm.  x  12.7  mm.);  Th.  ys  in.  (3.17  mm.). 
King  Collection,  No.  223.  Said  to  be  from  Chiusi.  Published 
by  King,  Hdbk.  of  Engraved  Gems,  pi.  lxiv,  6;  Ant.  Gems  and 
Rings,  11,  woodcuts,  pi.  xxxiii,  10.  Convex  on  the  engraved 
side.  Acc.  No.  81.6.105. 

196  Chalcedony  Ringstone.  Head  of  bearded  Her¬ 
akles  to  right,  with  a  club  in  the  field.  Fair  execution. 

The  type  is  that  introduced  into  Greek  art  in  the  fourth 
century  B.  C.  and  popular  in  Hellenistic  and  Roman  times 
(cf.  Furtwangler  in  Roscher’s  Lexikon,  under  Herakles, 
col.  2169).  For  similar  representations  on  gems  cf.  Furt¬ 
wangler,  A.  G.,  pi.  xli,  35,  37. 

Yi  in.  x  2Yi  in.  (12.7  mm.  x  10.71  mm.);  Th.  %  in.  (3.97  mm.). 
King  Collection,  No.  219.  Unpublished.  Convex  on  both 
sides.  Partly  blanched  by  fire.  Acc.  No.  81. 6. 106. 

PERSEUS 

197  Sard  Ringstone.  Perseus  holding  the  head  of 
Medusa  over  his  head  and  looking  at  its  reflection  on  the 
shield  below;  he  wears  a  chlamys  and  holds  his  crooked 
knife  (harpe)  in  one  hand.  Careful  work. 


Plate 


202 


20} 


GRAECO-ROMAN  PERIOD  121 

For  similar  representations  cf.  Furtwangler,  A.  G.,  pi. 
xlii,  4,  and  Berl.  Kat.,  Nos.  3102,  4238,  4239. 

%  in.  x  %  in.  (1 1.5 1  mm.  X9.13  mm.);  Th.  %  in.  (2.78  mm.). 
King  Collection,  No.  222.  Unpublished.  Acc.  No.  81.6.107. 

BELLEROPHON 

198  Carnelian  Ringstone.  Bellerophon  on  the 
winged  horse  Pegasos,  flying  to  right.  Bellerophon  holds 
a  spear  pointed  downward  as  if  about  to  transfix  the  chi- 
maera,  which,  however,  is  not  represented.  Sketchy  exe¬ 
cution. 

%  in.  x  3%4  in.  (13. 1  mm.  x  13.89  mm.);  Th.  %  in.  (2.78  mm.). 
King  Collection,  No.  132.  Unpublished.  Acc.  No.  81.6. 108. 

GANYMEDE 

199  Sard  Ringstone.  The  eagle  of  Zeus  carrying 
Ganymede  in  its  claws.  Ganymede  is  nude  but  wears 
high  shoes  and  is  holding  two  spears  in  his  hand.  Fair 
execution. 

The  composition  is  familiar  from  representations  in 
sculpture,  though  no  group  identical  with  ours  has  sur¬ 
vived.  For  similar  scenes  on  gems  cf.  Furtwangler,  Berl. 
Kat.,  Nos.  4130  ff. 

%  in.  x  %  in.  (14.68  mm.  x  13. 1  mm.);  Th.  %  in.  (2.78  mm.). 
King  Collection,  No.  74.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  xli,  6;  Ant.  Gems  and  Rings,  II,  woodcuts,  pi. 
xi,  7.  Convex  on  the  engraved  side.  Acc.  No.  81.6.109. 

OPHELTES 

200  Red  Jasper  Ringstone.  A  large  serpent  coiled 
around  the  body  of  a  child — probably  Opheltes  (also  called 
Archemoros)  and  the  dragon.  Good  execution. 

For  other  representations  of  the  death  of  Opheltes,  who 


122  CATALOGUE  OF  ENGRAVED  GEMS 


was  killed  by  a  serpent  while  left  alone  by  his  nurse,  cf. 
Stoll  in  Roscher’s  Lexikon,  under  Archemoros,  col.  472. 

Yi  in.  x  4J4  in.  (12.7  mm.  x  16.27  mm.);  Th.  in.  (1.98  mm.). 
King  Collection,  No.  240.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pl.xliiA,  4,  and  copperplates,  second  group, 
iv,  15;  illustrated,  King,  Precious  Stones,  p.  129;  Ant.  Gems,  pi. 
iv,  15.  Very  slightly  convex  on  the  engraved  side.  Acc.  No. 
81.6. 1 10. 


EUROPA 

201  Yellowish  Glass  Paste.  Europa  with  her 
arm  around  the  bull  is  swimming  through  the  water  to 
left;  she  wears  a  transparent  chiton.  Effective  composi¬ 
tion. 

The  subject  of  the  rape  of  Europa  is  not  infrequently 
represented  on  gems;  cf.  the  lists  given  by  Stephani, 
Compte  rendu,  1866,  pp.  no  ff.,  and  Overbeck,  Griech- 
ische  Kunstmythologie,  1,  Zeus,  p.  463  f.  Compare  with 
pur  example  the  replica  in  the  British  Museum  (Furt- 
wangler,  A.  G.,  pi.  xxxvii,  5). 

%  in.  x  1  in-  (20.24  mm.  x  27.78  mm.);  Th.  J^in.  (5.56  mm.). 
Greau  Collection,  No.  1062.  Published  by  Froehner,  Greau 
Collection,  pi.  clxxiv,  48.  Convex  on  the  engraved  side.  A 
small  piece  is  missing  from  the  lower  edge.  Acc.  No.  17.194.47. 


MYTHOLOGICAL  ANIMALS  AND  MONSTERS — SPHINX 

202  Nicolo  Ringstone.  A  Sphinx  is  attacking  a 
prostrate  youth  who  is  trying  to  defend  himself  with  a 
sword.  Sketchy  execution. 

For  a  similar  representation  on  a  gem  cf.  J.  Overbeck, 
Die  Bildwerke  zum  thebischen  und  troischen  Heldenkreis, 
pi.  i,  6.  The  Sphinx,  one  of  the  monster  shapes  borrowed 
by  the  Greeks  from  Egypt,  is  often  depicted,  as  here, 
with  one  of  her  victims.  For  this  subject  on  archaic  gems, 
cf.  Furtwangler,  A.  G.,  pi.  viii.  7,  and  other  references 


Plate  52 


GRAECO-ROMAN  PERIOD 


123 


there  cited;  it  also  occurs  on  vases  and  terracottas;  cf. 
J.  llberg  in  Roscher’s  Lexikon,  under  Sphinx,  col.  1370. 
When  the  victim  is  armed,  as  on  our  gem,  such  scenes 
may  have  reference  to  the  Theban  legend,  in  which  the 
Sphinx  killed  all  who  could  not  solve  her  riddle  (cf.  J. 
Overbeck,  op.  cit.,  p.  18);  otherwise  we  may  interpret 
them  in  a  more  general  way  as  the  monster  with  her 
prey. 

%  in.  x  %  in.  (10.32  mm.  x  13.49  mm.);  Th.  ys  in.  (3.17  mm.). 
King  Collection,  No.  314.  Unpublished.  Slightly  chipped  in 
places.  Acc.  No.  81.6. 1 1 1. 

203.  Black  Jasper  Ringstone.  Sphinx  with  slightly 
curling  wings  and  woman’s  breasts,  seated  to  right.  Care¬ 
ful  work. 

The  type  is  similar  to  that  which  occurs  on  fifth-  to 
fourth-century  coins  of  Chios  (cf.,  e.  g.,  P.  Gardner,  The 
Types  of  Greek  Coins,  pi.  x,  13).  The  Sphinx  is  a  common 
emblem  on  Roman  coins  (cf.  J.  llberg  in  Roscher’s  Lexi¬ 
kon,  under  Sphinx,  col.  1361).  For  representations  on 
gems  similar  to  ours  cf.  Furtwangler,  Berl.  Kat.,  3323  ff. 

%in.  x%  in.  (1 5.48  mm.  x  20.24  mm.);  Th.  %  in.  (3.57  mm.). 
King  Collection,  No.  313.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  Ixxv,  7;  Ant.  Gems  and  Rings,  II,  woodcuts, 
pi.  lv,  1 1 ;  illustrated,  King,  Precious  Stones,  p.  442.  Slightly 
convex  on  the  engraved  side.  A  small  piece  from  the  edge  is 
missing.  Acc.  No.  81.6.1 12. 

204  Carnelian  Ringstone.  Lioness-Sphinx  with 
curling  wings  and  woman’s  breasts  seated  to  right. 
Sketchy  execution. 

Compare  the  similar  stone  in  Vienna,  Imhoof-Blumer 
u.  Keller,  Tier  -  und  Pflanzenbilder,  pi.  xxvi,  39. 

%  in.  x  in.  (1 1.91  mm.  x  1 1.5  1  mm.);  Th.  >14  in.  (4.36  mm.). 
King  Collection,  No.  315.  Unpublished.  Slightly  convex  on 
both  sides.  Slightly  chipped  in  places.  Acc.  No.  81.6. 1 13. 


124  CATALOGUE  OF  ENGRAVED  GEMS 

205  Carnelian  Ringstone.  Seated  Sphinx,  with 
female  breasts,  in  full  front  with  two  hind  bodies  in  profile 
to  right  and  left.  Good,  careful  work. 

2^4  in.  x  %  in.  (9.13  mm.  x  1 1.91  mm.);  Th.  %4  in.  (3.57  mm.). 
King  Collection,  No.  312.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  copperplates,  first  group,  iii,  29.  Slightly  convex  on 
the  engraved  side.  Chipped  in  places.  Acc.  No.  81.6.1 14. 


SIREN 

206  Carnelian  Ringstone.  Siren  standing  to  right 
playing  the  lyre;  in  the  field,  a  star,  a  palm  branch,  and  the 
inscription  K A  IT.  Fair  work. 

The  Siren,  another  favorite  monster  shape  and  death 
demon  of  the  Greeks,  appears  in  their  art  chiefly  in  two 
aspects,  destructive  and  music-loving.  These  two  fea¬ 
tures  are  combined  in  Homer’s  story  that  they  charmed 
passing  mariners  with  their  song  and  then  devoured  them. 
Here  only  the  musical  side  of  the  Siren  is  characterized. 
For  a  similar  gem,  with  the  same  emblems  and  inscription 
in  the  field,  cf.  Imhoof-Blumer  u.  Keller,  Die  Tier-  und 
Pflanzenbilder,  pi.  xxvi,  31.  The  inscription  is  perhaps 
to  be  completed  KAniTOACINA,  and  may  refer  to  the 
Capitoline  contests  in  poetry. 

%  in.  x  2%  in.  (12.3  mm.  x  9.92  mm.);  Th.  %  in.  (3.57  mm.) 
King  Collection,  No.  320.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  xlviii,  6;  Ant.  Gems  and  Rings,  II,  woodcuts, 
pi.  lv,  13;  illustrated.  King,  Precious  Stones,  p.  152.  Acc.  No. 
81.6.1 15. 


PEGASOS 

207  Carnelian  Ringstone.  The  winged  horse,  Peg- 
asos,  flying  to  right.  Careful  work. 

%  in.  x  ys  in.  (7.14  mm.  x  9.52  mm.);  Th.  ys  in.  (3.17  mm.). 
King  Collection,  No.  133*  Unpublished.  Slightly  convex  on 
the  engraved  side.  Chipped  at  one  side.  Acc.  No.  81 .6. 1 16. 


Plate  53 

NO.  212 


Medusa 


peridot 


GRAECO-ROMAN  PERIOD 


125 


HIPPOCAMPUS 

208  Carn elian  Ringstone.  A  hippocampus  or  sea¬ 
horse  to  right,  and  a  trident.  Rather  sketchy  execu¬ 
tion. 

Compare  the  finer  stone  in  the  British  Museum, 
Imhoof-Blumer  u.  Keller,  Tier-  und  Pflanzenbilder,  pi. 
xxvi,  4. 

%  in.  x*%  in.  (10.32  mm.  x  14.68  mm.);  Th.  y&  in.  (3.17  mm.). 
King  Collection,  No.  94.  Unpublished.  Convex  on  the  en¬ 
graved  side.  Acc.  No.  81.6.1 17. 

209  Gold  Ring  with  plain  hoop  broadening  at  the 
top  into  a  flat  circular  bezel;  on  the  latter  is  roughly  en¬ 
graved  a  capricorn. 

D.  of  hoop.  %  in.  (15.48  mm.);  L.  of  bezel,  %.  in.  (7.14  mm.); 
Wt.  52J4  grains  (3.402  grammes).  From  Cyprus.  Cesnola 
Collection.  Cf.  Myres,  Handbook,  No.  4086.  Illustrated, 
Cesnola  Atlas  111,  pi.  xxx,  17.  Acc.  No.  C.  E.  33.  (In  Gallery 
II:  C  32.) 


GIANT 

210  Carnelian  Ringstone.  A  young  giant  with  legs 
ending  in  serpents.  He  holds  a  sword  in  one  hand  and  a 
lion’s  skin  in  the  other.  Good  execution. 

For  a  similar  representation  cf.  the  glass  paste  in 
the  British  Museum,  No.  1231,  Furtwangler,  A.  G„  pi. 
xxxvii,  22.  This  subject  was  not  infrequently  copied  in 
modern  times;  cf.  the  references  given  in  the  text  to 
Furtwangler,  loc.  cit.  and  Dalton,  Post-Classical  Gems, 
pi.  xxx,  849. 

53^4  in.  x%in.  (21.03  mm.  x  i8-65  mm.);Th.  %  in.  (5.16  mm.). 
King  Collection,  No.  75.  Said  to  be  from  Cumae.  Published 
by  King,  Ant.  Gems  and  Rings,  II,  copperplates,  first  group, 
pi.  v,  50;  Osborne,  Engraved  Gems,  pi.  xxii,  11.  Convex  on 
both  sides.  The  stone  is  blanched  by  fire.  Acc.  No.  81. 6.1 18. 


126  CATALOGUE  OF  ENGRAVED  GEMS 

MEDUSA 

21 1  Rock  Crystal  Ringstone.  The  head  of  Me¬ 
dusa,  full  front,  with  two  snakes  knotted  under  her  chin 
and  hair  arranged  like  rays.  Good  execution. 

This  type  of  Medusa  stands  midway  between  the  gro¬ 
tesque  representation  of  archaic  times  and  the  beautiful 
conception  of  the  later  fifth  and  fourth  centuries  B.  C. 
The  former  distortion  is  still  there  but  in  a  less  exaggerated 


form  (cf.  Furtwangler,  in  Roscher’s  Lexikon,  under  Gor- 
gonen,  col.  1718).  The  radiating  hair  is  suggestive  of 
Helios  and  Apollo,  and  conforms  with  the  theory  that 
Medusa  is  an  emblem  of  the  sun  disk  (cf.  A.  L.  Frothing- 
ham,  A.  J.  A.,  XV  [191 1],  pp.  349  ff.). 

%  in.  x%ir>-  (15.08  mm.  x  16.67  mm.);  Th.  %m.  (4.76  mm.). 
King  Collection,  No.  110.  Unpublished.  Convex  on  both 
sides.  _Acc.  No.  81.6.119. 

212  Peridot  Ringstone.  Head  of  the  dead  Medusa 
in  three  quarters  front,  with  eyes  half  closed.  Fine 
execution. 

This  beautiful  type  of  the  dead  Medusa,  in  profile,  or 
three-quarters  view,  was  introduced  in  the  Hellenistic 
period;  cf.  Furtwangler  in  Roscher’s  Lexikon,  under 


Plate  54 


GRAECO-ROMAN  PERIOD  1 27 

Gorgonen,  col.  1725.  Every  trace  of  her  early  grotesque 
aspect  has  here  disappeared. 

234  in.  x%  in-  (18.25  mm-  x  '7-46  mm.);  Th.  %in.  (8.33  mm.). 
King  Collection,  No.  104.  Published  by  King,  Ant.  Gems 
and  Rings,  II,  woodcuts,  pi.  xx,  7,  and  copperplates,  first  group, 
i,  5.  Convex  on  both  sides.  The  stone  is  cracked.  Acc.  No. 
81.6.120. 


PORTRAITS 

213  Sardonyx  Ringstone.  The  head  of  a  bald, 
bearded  Greek,  in  profile  to  right,  perhaps  meant  for  So- 
krates.  Careful  work. 

This  type  is  generally  identified  with  Sokrates,  though  it 
varies  in  several  respects  from  the  more  characteristic 
marble  busts  (cf.  Bernoulli,  Griechische  Ikonographie, 
pis.  xxi-xxiv).  In  our  gem,  for  instance,  the  shape  of 
the  skull  is  different.  For  a  list  of  gems  representing  this 
general  type,  cf.  Bernoulli  op.  cit . ,  p.  191  f.,  also  Furt- 
wangler,  A.  G.,  pis.  xliii,  3,  4,  6;  1,  2. 

%in.x%in.  (15.87  mm.x  11.91  mm.);Th.  %in.  (4-36mm.). 
King  Collection,  No.  251.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  lxxiii,  1;  Ant.  Gems  and  Rings,  II,  woodcuts, 
pi.  xlvi,  4;  illustrated,  King,  Precious  Stones,  p.  340.  Convex 
on  the  engraved  side,  concave  on  the  other.  Chipped  at  the 
back.  Acc.  No.  81.6.143. 

214  Sard  Ringstone  with  a  representation  similar  to 
the  preceding  but  of  less  careful  workmanship. 

3%  in.  x  in.  (13.1  mm.  x  1 1.11  mm.);Th.  in.  (3.57  mm.). 
King  Collection,  No.  250.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  lxxiii,  2;  Ant.  Gems  and  Rings,  II,  woodcuts, 
pi.  xlvi,  9;  illustrated,  King,  Precious  Stones,  p.  ix.  Slightly 
convex  on  the  engraved  side.  Slightly  chipped.  Acc.  No. 
81 .6. 144. 

215  Carnelian  Ringstone.  Portrait-head  of  M. 
Junius  Brutus  (85-42  B.  C.)  in  profile  to  right.  Fine, 


128  CATALOGUE  OF  ENGRAVED  GEMS 

sensitive  work.  The  profile  corresponds  exactly  with  that 
on  the  portraits  of  Brutus  on  coins  (cf.  Bernoulli,  Romische 
Ikonographie,  I,  Munztafel  111,  75-79) ;  especially  charac¬ 
teristic  are  the  sunken  cheeks  and  the  prominence  of  the 
lower  part  of  the  face. 

For  a  similar  representation  on  a  gem,  but  without  indi¬ 
cation  of  the  beard,  cf.  Furtwangler,  A.  G.,  pi.  xlvii,  27. 
We  know  from  a  statement  by  Lucan  (Pharsalia  II,  372- 
376)  that  Brutus  wore  a  beard  for  years  as  a  sign  of  mourn¬ 
ing  at  the  fall  of  the  Republic;  and  with  this  the  extant 
portraits  agree,  some  showing  him  with,  others  without  a 
beard. 

%  in.  x  %  in.  (13.49  mm.  x  10.71  mm.);  Th.  34  in.  (6.35  mm.). 
King  Collection,  No.  258.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  xlviii,  12;  Hdbk.  of  Engraved  Gems,  pi. 
lxxiii,  4;  illustrated,  King,  Precious  Stones,  p.  301.  Convex  on 
the  engraved  side.  Chipped  on  the  upper  edge.  Acc.  No.  81.6.5 1. 

216  Black  Jasper  Ringstone.  Portrait  of  a  man  in 
profile  to  right,  of  the  late  Republican  period.  Careful, 
but  not  detailed  work.  This  type  used  to  be  identified 
with  M.  Lepidus,  whom,  however,  it  resembles  only 
slightly. 

Compare  Furtwangler,  A.  G.,  pi.  xlvii,  30. 

Vi  in.  x  %  in.  (12.7  mm.  x  1 1.51  mm.);  Th.  %  in.  (3.57  mm.). 
King  Collection,  No.  281.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  copperplates,  first  group,  pi.  ii,  18.  Convex  on  the 
engraved  side.  Acc.  No.  81.6.52. 

217  Amethyst  Ringstone.  Portrait-bust  of  a  beard¬ 
less  man  in  profile  to  right,  with  his  left  hand  brought  up 
to  his  chin.  He  is  partially  bald  and  has  a  haggard  face 
and  long,  thin  neck;  the  features  are  strongly  individual; 
they  are  not  unlike  those  of  Julius  Caesar,  with  whom  the 
general  appearance  and  the  fine  distinction  of  our  bust 


Plate  55 

NO.  2  I  5 


| un ius  Brutus 


CARN  ELI  AN 


GRAECO-ROMAN  PERIOD 


129 


would  also  agree.  But  in  the  absence  of  the  usual  attri¬ 
butes,  such  as  laurel  wreath,  star,  or  lituus  (the  emblem 
of  the  chief  pontifex),  such  an  identification  can  be  only 
tentative.  The  execution  is  excellent,  detailed  yet  full  of 
life;  the  artist  has  succeeded  splendidly  in  conveying  a 
refined  and  powerful  personality.  The  size  and  quality 
of  the  stone  add  to  the  beauty  of  the  general  effect. 

For  a  list  of  gems  probably  representing  Julius  Caesar, 
cf.  Bernoulli,  Romische  Ikonographie,  I,  pp.  151  ff.  For 
other  examples  of  busts  with  the  hand  introduced  in  a 
manner  similar  to  that  on  our  gem,  cf.  Furtwangler,  Berl. 
Kat.,  Nos.  5043-5051. 

i%2in.  x%in.  (29.37  mm.x21.83  mm.);Th.  ^in.  (7.54  mm.). 
Purchased,  1911.  Formerly  in  the  collection  of  Sir  Arthur  J. 
Evans.  Mentioned,  Museum  Bulletin,  1912,  p.  98.  Convex  on 
both  sides.  Chipped  in  places.  Acc.  No.  1 1.195.6. 


218  Garnet  (Hyacinth?)  Ringstone.  Portrait- 
head  of  a  boy  of  the  Julio-Claudian  period,  in  profile  to 
right.  Fine,  delicate  execution,  in  characteristic  Augus¬ 
tan  style. 

The  head  resembles  the  coin  types  of  Caius  Caesar  (cf. 
Bernoulli,  Romische  Ikonographie,  II,  1,  pi.  xxxii,  16). 

3%4  in.  x  %  in.  (13.89  mm.  x  10.32  mm.);  Th.  %"2  in.  (2.38  mm.). 
King  Collection,  No.  261.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  lxxiii,  5;  Ant.  Gems  and  Rings,  II,  woodcuts, 
pi.  xlix,  9.  Slightly  convex  on  the  unengraved  side.  Small 
chips  around  the  edge.  Acc.  No.  81.6.145. 


219  Carnelian  set  in  a  ring  of  seventeenth- to  eigh¬ 
teenth-century  style.  On  the  stone  is  engraved  a  portrait- 
head  of  a  bearded  man  in  profile  to  right.  Probably 
ancient  work. 

(As  set)  %  in.  x  2%  in.  (13.49  mm.  x  10.71  mm.).  Purchased, 
1907.  Unpublished.  Acc.  No.  07.286. 120. 


130  CATALOGUE  OF  ENGRAVED  GEMS 

220  Carnelian  Ringstone.  Bust  of  a  bearded  young 
man  in  profile  to  right;  the  beard  is  indicated  by  small 
incised  lines;  the  iris  and  pupil  are  also  incised.  A  finely 
felt  and  executed  portrait  of  the  first  or  second  century 
A.  D.1  It  is  noteworthy  that  the  eye  is  not  represented 
correctly  in  profile. 

%  in.  x  n/{6  in.  (20.24  mm.  x  17.46  mm.);  Th.  %in.  (4.76  mm.). 
Purchased,  1911.  Formerly  in  the  collection  of  Sir  Arthur  J. 
Evans.  Mentioned,  Museum  Bulletin,  1912,  p.  98.  Slightly 
convex  on  the  engraved  side.  Acc.  No.  1 1.196.3. 

221  Brown  Glass  Paste.  Portrait-head  of  a  man 
wearing  a  laurel  wreath,  in  profile  to  right.  Careful  work 
of  the  Augustan  period. 

Y*  in.  x  %  in.  (12.7  mm.  x  24.21  mm.);  Th.  14  in.  (6.35  mm.). 
Greau  Collection,  No.  1026.  Published  by  Froehner,  Greau 
Collection,  pi.  clxxiv,  12.  Slightly  convex  on  the  engraved  side. 
The  whole  lower  part  is  missing.  Acc.  No.  17.194.48. 

222  Carnelian  set  in  a  ring  of  seventeenth-  to  eigh¬ 
teenth-century  style.  On  the  stone  is  engraved  a  portrait- 
bust  of  a  woman  in  profile  to  right;  her  hair  is  tied  by  a 
fillet.  In  the  field  is  a  hair-pin  and  the  signature  of  the 
artist  Gnaios  (TNAIOY).  The  workmanship  is  of  great 
beauty,  the  gem  being  a  worthy  companion  to  the  fine 
head  of  Herakles  by  Gnaios  in  the  British  Museum,2  to 
which  it  bears  a  marked  resemblance.  It  is  a  splendid 
example  of  the  finished,  cold  elegance  of  the  Augustan 
period. 

The  letters  of  the  signature — with  slender  bars  and  balls 
at  the  ends — resemble  those  of  other  signatures  of  Gnaios 

1  That  the  shape  of  busts  on  gems  did  not  always  follow  the  evolution 
noticeable  in  the  marble  sculptures  is  evident  from  a  perusal  of  the  ex¬ 
amples  figured  in  Furtwangler,  A.  G.,  pi.  xlviii. 

2Cf.  Furtwangler,  A.  G.,  pi.  xlix,  20;  and  Murray-Smith,  Cat.  of  Gems 
in  the  Brit.  Mus.,  pi.  H.,  No.  1281. 


Portrait 


AMETHYST 


GRAECO-ROMAN  PERIOD  131 

(cf.  Furtwangler,  Jahrbuch,  1888,  p.  315):  the  genitive 
form  occurs  also  on  the  Diomedes  gem. 

It  is  interesting  to  compare  this  gem  with  a  close  copy 
of  it  on  a  crystal  worked  in  the  eighteenth  to  nineteenth 
century,  also  in  the  British  Museum  (cf.  Dalton,  Post- 
Classical  Gems,  No.  682). 

(As  set)  %  in.  x  %  in.  (16.27  mm.  x  13. 1  mm.).  Purchased, 
1910.  Formerly  in  the  Este  Collection.  Mentioned,  Museum 
Bulletin,  1910,  p.  276.  Convex  on  the  unengraved  side.  A 
piece  from  the  lower  right  side  is  missing  and  has  been  restored 
in  gold.  Acc.  No.  10.1 10.1. 

223  Sard  set  in  a  plain  hollow  gold  ring,  with  broad 
hoop,  convex  without,  flat  within.  The  stone  is  engraved 
with  the  portrait  of  a  young  woman  in  profile  to  right.  The 
style  in  which  the  hair  is  worn — a  “French  roll”  on  top  of 
the  head  and  a  small  coil  behind— is  that  of  the  Augustan 
period  (cf.  Bernoulli,  Romische  Ikonographie,  II,  1,  pp. 

1 10  ff.)  and  occurs  on  coins  of  Octavia  or  Fulvia  (Bernoulli, 
op.  cit.,  pi  xxxii,  14  and  p.  1 18),  as  well  as  on  gems  of  that 
period  (cf.  Furtwangler,  A.  G.,  pi.  xlvii,  46).  Exception¬ 
ally  charming  and  dainty  work;  the  delicate  profile  and 
the  exquisitely  fine  lines  of  the  hair  show  that  a  master 
engraver  was  here  at  work. 

^  (As  set)  %  in.  x  y2  in.  (15.87  mm.  x  12.7  mm.).  From  Cyprus. 
Cesnola  Collection.  Cf.  Myres,  Handbook,  No.  4236.  Illus¬ 
trated,  Cesnola  Atlas,  III,  pi.  xxviii,  6.  The  stone  is  slightly 
chipped  around  the  edge,  and  several  pieces  of  the  ring  at  the 
bezel  are  missing.  Acc.  No.  C.E.  85. 

224  Black  Jasper  Ringstone.  Portrait-bust  of  a 
woman  in  profile  to  right,  beautifully  worked  in  the  style 
of  the  early  Imperial  period.  The  iris  is  indicated  by  an 
incised  line. 

The  portrait  has  been  identified  as  that  of  Antonia 


132  CATALOGUE  OF  ENGRAVED  GEMS 

(Cades,  Impressiones  gemmarum,  V,  346),  the  wife  of  Nero 
Drusus  (38  B.  C.-9  A.  D.),  and  it  certainly  bears  some  re¬ 
semblance  to  the  coin  types  (cf.  Bernoulli,  Romische 
Ikonographie,  II,  1,  pi.  xxxiii,  10-12),  both  in  the  way  the 
hair  is  worn  and  in  the  line  of  the  profile  with  the  finely 
arched  nose  and  strong  chin. 

1%  in.  x  1^4  in.  (30.56  mm.x25.79mm.);  Th.  %  in.  (5.56  mm.). 
Purchased,  1907.  Published  by  Furtwangler,  A.  G.,  pi.  xlviii, 
9,  at  which  time  it  was  in  the  Piombino  Collection  in  Rome; 
also  by  Delbrueck,  Antike  Portrats,  pi.  59,  7.  Slightly  convex 
on  the  engraved  side.  Acc.  No.  07.286.124. 

225  Carnelian  Ringstone.  Female  portrait-head  in 
profile  to  left,  wearing  a  net  and  a  kerchief.  Fine  work. 

%  in.  x  ys  in.  (13.49  mm.  x  9.52  mm.);  Th.  %  in.  (2.78  mm.). 
King  Collection,  No.  1 15.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  xxxii,  9;  illustrated,  King,  Precious 
Stones,  p.  xii.  Slightly  convex  on  both  sides.  Slightly  chipped. 
Acc.  No.  81.6.146. 

226  Blue  Glass  Paste.  Portrait-head  of  a  girl  in 
profile  to  right.  Fair  execution. 

%  in.  x  %  in.  (17.46  mm.  x  13.49  mm.);  Th.  ^2  in.  (3.97  mm.). 
Greau  Collection,  No.  1027.  Published  by  Froehner,  Gr£au 
Collection,  pi.  clxxiv,  13.  Convex  on  both  sides.  About  one 
half  of  the  gem  is  missing.  Acc.  No.  17.194.49. 

227  Sard  Ringstone.  Portrait-bust  of  woman  wear¬ 
ing  a  veil,  diadem,  and  necklace,  in  profile  to  right;  in  the 
field  the  monogram  A .  Fair  work. 

%  in.  x  %  in.  (13.89  mm.  x  12.3  mm.);  Th.  in.  (3.57  mm.). 
King  Collection,  No.  255.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  copperplates,  first  group,  ii,  16.  Strongly  convex  on 
the  engraved  side.  Acc.  No.  81.6.261. 

228  Carnelian  Ringstone.  Head  of  a  child  in  al¬ 
most  full  face,  with  straight  hair,  probably  a  portrait. 
In  the  field  the  inscription  TVXIA.  Fair  execution. 


Plate  57 

NO.  2l8 


Caius  Caesar  (?) 


CARNELIAN 


GRAECO  —  ROMAN  PERIOD 


I  33 

For  a  similar  representation,  cf.  Furtwangler,  Berl. 
Kat.,  No.  5273. 

ys  in.  x  %  in.  (1 5.87  mm.  x  12.3  mm.);  Th.  %  in.  (2.78  mm.). 
King  Collection,  No.  279.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  lxxii,  3;  Ant.  Gems  and  Rings,  II,  woodcuts, 
pi.  1,  9,  and  copperplates,  first  group,  ii,  17;  illustrated,  King,’ 
Precious  Stones,  p.  428.  Slightly  convex  on  both  sides.  Slightly 
chipped.  Acc.  No.  8 1 .6. 1 47. 

229  Carnelian  Ringstone.  Head  of  a  child  in  al¬ 
most  full  face,  round,  and  with  short,  curly  hair.  Fair 
execution. 

%m.  x%in.  (14.29  mm.  x  13.49  mm.);  Th.  %in.  (4.36  mm.). 
King  Collection,  No.  280.  Unpublished.  Slightly  convex  on 
both  sides.  Acc.  No.  81.6.148. 


SCENES  FROM  DAILY  LIFE 

230  Banded  Agate  Ringstone.  Warrior  walking 
to  right  carrying  a  spear  and  tropaion;  around  the  repre¬ 
sentation  is  a  cable  border.  Spirited  work. 

The  inscription  lightly  scratched  in  the  field,  TAYKQN, 
is  modern;  so  also  that  on  the  back,  M.  C.  TVSCHER, 
apparently  by  the  same  hand. 

Vs  in.  x  %  in.  (15.87  mm.  x  9.52  mm.);  Th.  %  in.  (2.78  mm.). 
King  Collection,  No.  157.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  liv,  1,  Ant.  Gems  and  Rings,  II,  woodcuts,  pi. 
xxvi,  1.  Parts  of  the  stone  have  been  blanched  by  fire.  Acc. 
No.  81.6.122. 

231  Sardonyx  Ringstone.  Warrior  standing  un¬ 
fastening  his  chlamys;  he  holds  his  sword  in  one  hand  and 
by  his  side  are  his  cuirass,  helmet  and  shield.  Careful, 
but  lifeless  work. 

4%4  in.  x %  in.  (19.45  mm-  *  15  48  mm.);  Th.  %  in.  (5.95  mm.). 
King  Collection,  No.  248.  Unpublished.  Convex  on  the  en¬ 
graved  side.  Chipped  at  the  bottom.  Acc.  No.  81 .6. 124. 


134  CATALOGUE  OF  ENGRAVED  GEMS 

232  Brown  Glass  Paste  set  in  a  plain  ring  of  gilt- 
bronze.  Warrior  kneeling  behind  his  shield  to  left.  Good 
execution. 

(As  set)  %  in.  x  %  in.  (1 1.91  mm.  x  ii.i  1  mm.).  Greau  Col¬ 
lection,  No.  1036.  Published  by  Froehner,  Greau  Collection, 
pi.  clxxiv,  22.  Convex  on  the  engraved  side.  Acc.  No.  17. 194.5  1 . 


233  Carnelian  Ringstone.  Head  and  shoulders 
of  a  youth  carrying  a  rudder  and  a  shield  with  Pegasos 
as  a  device.  Careful  work. 

%  >n.  x  y2  in.  (1 5.48  mm.  x  12.7  mm.);  Th.  in.  (3.97  mm.). 
King  Collection,  No.  271.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  Ixxii,  4;  Ant.  Gems  and  Rings,  II,  woodcuts, 
pi.  1,  5;  illustrated,  King,  Precious  Stones,  p.  56.  Slightly  con¬ 
vex  on  both  sides.  Acc.  No.  81.6.125. 


234  Colorless  Glass  Paste.  A  priest  standing 
before  an  altar  and  pouring  a  libation;  by  the  side 
of  the  altar  is  a  tree.  The  representation  is  surrounded 
by  a  border  of  a  single  line.  Careful  but  monotonous 
work. 

Compare  the  representations  of  priests  pouring  liba¬ 
tions  on  Roman  reliefs,  e.  g..  Strong,  Roman  Sculpture, 
pi.  ix,  2. 

1%  in.  x  %  in.  (32.15  mm.  x  23.41  mm.).  Th.  %  in.  (5.57 
mm.).  Greau  Collection,  No.  1033.  Published  by  Froehner, 
Greau  Collection,  pi.  clxxiv,  19.  Convex  on  the  engraved  side. 
Chipped  in  places.  Acc.  No.  17.194.52. 


235  Plasma  Ringstone.  A  youth,  partly  draped, 
holding  a  disk  in  one  hand  and  a  palm  branch  with  a 
fillet  in  the  other;  on  a  table  by  his  side  is  a  jug.  Careful 
work. 

The  representation  is  practically  identical  with  that 
figured  in  Furtwangler,  A.  G.,  pi.  xliv,  21,  except  that  in 


Plate  58 

NO.  220 


Portrait 


CARNELIAN 


GRAECO-ROMAN  PERIOD 


135 


ours  the  palm  branch  is  shorter.  Furtwangler  suggests 
that  the  figure  may  be  the  personification  of  the  agon  of 
the  pentathlon. 

%  in.  x  Jf6in.  (15.48  mm. x  u.n  mm.);Th.  %  in.  (3.57  mm.). 
King  Collection,  No.  238.  Unpublished.  Convex  on  the  en¬ 
graved  side.  Acc.  No.  81.6. 126. 

236  Sard  Ringstone.  Youth  leaning  against  a  pillar 
and  holding  a  pair  of  scales  in  one  hand  and  a  palm  in  the 
other;  by  his  side  is  a  dog.  In  the  field  the  inscription 
L.  D.  VI RILL,  giving  the  abbreviated  name  of  the  owner 
of  the  seal.  Good  workmanship.  Perhaps  here  too  the 
genius  presiding  over  athletic  games  is  intended,  rather 
than  merely  an  athlete. 

%  in.  x %  in-  (14-29  mm.  x  1 1.1 1  mm.);  Th.  ys  in.  (3.17  mm.). 
King  Collection,  No.  140.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  copperplates,  first  group,  pi.  iv.  45.  Slightly  convex 
on  both  sides.  Acc.  No.  81.6.127. 


237  Opaque  Green  Glass  Paste  with  white  and 
blue  bands.  Youth  leaning  against  a  pillar  and  sleeping; 
he  wears  a  chlamys.  Attractive  composition. 

%  in.  x  %  in.  (19.45  mm.  x  1 1.5 1  mm.);  Th.  %,  in.  (2.38  mm.). 
Greau  Collection,  No.  1051.  Published  by  Froehner,  Greau 
Collection,  pi.  clxxiv,  37.  Broken  in  two  and  reattached;  the 
surface  is  somewhat  corroded.  Acc.  No.  17.194.53. 


238  Sard  Ringstone.  A  woman,  partly  draped,  is 
seated  on  a  chair  to  right,  tuning  her  lyre;  by  her  side  is  a 
serpent. 

For  another  representation  of  this  charming  scene  cf. 
Furtwangler,  Berk  Kat.,  No.  2920. 

=%  in.  x  ys  in.  (12.3  mm.  x  9.52  mm.);  Th.  y8  in.  (3.17  mm.). 
King  Collection,  No.  13 1.  Unpublished.  Slightly  convex  on 
both  sides.  Acc.  No.  81.6.128. 


I36  CATALOGUE  OF  ENGRAVED  GEMS 

239  Carnelian  Ringstone.  Boy  with  hoop  and  in¬ 
verted  torch,  walking  to  right.  Good  execution. 

The  hoop  seems  to  have  been  as  popular  a  toy  in 
ancient  times  as  it  is  today.  For  representations  of 
it  on  other  gems,  cf.,  e.  g.,  Furtwangler,  A.  G.,  pi.  xliv, 
29;  on  vases,  e.  g.,  the  amphora  No.  G.  R.  594  in  this  Mu¬ 
seum. 

2^2  in.  x  %  in.  (18.25  mm.  x  14.29  mm.);  Th.  %  in.  (3.57  mm.). 
King  Collection,  No.  208.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  copperplates,  first  group,  iv,  43.  Very  slightly  convex 
on  both  sides.  Chipped  in  places.  Acc.  No.  81.6. 129. 

240  Blue  Glass  Paste  with  white  band.  A  boy  on  a 
horse  galloping  to  right,  holding  a  whip  in  his  right  hand. 
Sketchy  but  spirited  execution. 

For  a  similar  representation  cf  Furtwangler,  Berk  Kat., 
No.  3148. 

%  in.  x  %  in.  (15.08  mm.  x  17.46  mm.);  Th.  34  in.  (6.35 
mm.).  Greau  Collection,  No.  1022.  Published  by  Froehner, 
Greau  Collection,  pi.  clxxiv,  8.  Convex  on  the  engraved  side. 
Chipped  around  the  edge.  Acc.  No.  17.194.54. 

241  Sard  Ringstone.  A  comic  actor  wearing  a 
mask,  tunic,  and  mantle,  and  holding  a  staff  in  one  hand. 
Good  execution  of  the  late  Hellenistic  or  Graeco- Roman 
period. 

This  subject  seems  to  have  been  popular;  cf  the  similar 
representations  in  Furtwangler,  A.  G.,  pi.  xli,  48,  50. 

%  in.  x  in.  (15.87  mm.  x  9.92  mm.);  Th.  ys  in.  (3.17  mm.). 
King  Collection,  No.  190.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  xxx,  6,  and  copperplates,  second  group, 
ii,  12;  illustrated,  King,  Ant.  Gems,  pi.  ii,  12.  Convex  on  both 
sides.  Acc.  No.  81.6.130. 


242  Carnelian  Ringstone.  Female  tragic  mask. 
Careful  execution. 


Plate  59 


GRAECO-ROMAN  PERIOD 


137 


%  in.  x  2%  in.  ( 1 1 .9 1  mm.  x  9.92  mm.);  Th.  in.  (2.38  mm.). 
King  Collection,  No.  196.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  xxxi,  9;-illustrated,  King,  Precious  Stones, 
p.269.  Acc.  No.  81.6.131. 


ANIMALS 

243  Sard  Ringstone.  A  lion  walking  to  right ;  around 
the  edge  is  a  cable  border.  Careful  work. 

For  other  representations  of  lions  on  gems  of  the  Roman 
period  cf.  Furtwangler,  Berk  Kat.,  No.  7032,  and  Imhoof- 
Blumer  u.  Keller,  Tier-  und  Pflanzenbilder,  pi.  xiv,  48  ff. 

25^  in.  x  %  in.  (9.92  mm.  x  1 1.91  mm.);  Th.  %  in.  (2.38  mm.). 
King  Collection,  No.  290.  Unpublished.  Convex  on  the  unen¬ 
graved  side.  Acc.  No.  81.6.132. 

244  Black  Jasper  Ringstone.  Lion  on  the  back  of  a 
deer  biting  it  in  the  shoulder.  Careful  work,  but  much 
less  spirited  than  on  the  fourth-century  gem,  No.  52. 

For  a  similar  representation  of  the  Roman  period  cf. 
Furtwangler,  Berk  Kat.,  No.  7035. 

%  in.  x  in.  (7.54  mm.  x  8.33  mm.);  Th.  in.  (2.38  mm.). 
King  Collection,  No.  293.  Unpublished.  Slightly  convex  on 
the  engraved  side.  Acc.  No.  81 .6.133. 


245  Carnelian  Ringstone.  Bull  to  right,  preparing 
to  toss. 

Again  it  is  interesting  to  compare  this  careful  but  rather 
tame  work  with  the  more  vigorous  rendering  on  earlier 
Greek  gems,  e.  g.,  Furtwangler,  A.  G.,  ph  ix,  19.  For  a 
Roman  gem  similar  to  ours  cf.  Furtwangler,  Berk  Kat., 
No.  7049. 

%  in.  x  %  in.  (7.94  mm.  x  10.71  mm.);  Th.  %  in.  (4.36  mm.). 
King  Collection,  No.  296.  Unpublished.  Very  slightly  convex 
on  the  engraved  side.  A  small  piece  from  the  lower  edge  is 
missing.  Acc.  No.  81.6.134. 


1 38  CATALOGUE  OF  ENGRAVED  GEMS 

246  Plasma  Ringstone.  Bull  grazing  to  left.  Fair 
execution. 

M  in.  x  %  in.  (6.35  mm.  x  7.94  mm.);  Th.  Hi>  in.  (1.59  mm.). 
King  Collection,  No.  300.  Unpublished.  Acc.  No.  81.6.135. 

247  Sard  Ringstone.  Bull  grazing  to  right.  Sketchy 
work. 

%  in.  x  J4  in.  (9. 1 3  mm.  x  1 1 . 1 1  mm.) ;  Th.  in.  (2.78  mm.). 
King  Collection,  No.  299.  Unpublished.  Slightly  convex  on 
the  engraved  side.  Acc.  No.  81.6.205. 

248  Light  Blue  Glass  Paste.  Cow  standing  under 
a  tree,  drinking  out  of  a  trough  and  suckling  her  calf. 

For  another  replica  of  this  attractive  composition  cf. 
Furtwangler,  Berl.  Kat.,  No.  5539. 

y2  in.  x  %  in.  (12.7  mm.  x  16.27  mm.);  Th.  %  in.  (4.76  mm.). 
Greau  Collection,  No.  1019.  Published  by  Froehner,  Greau 
Collection,  pi.  clxxiv,  4.  Chipped  on  one  side;  the  surface  is 
somewhat  corroded  and  iridescent.  Acc.  No.  17.194.55. 

249  Plasma  Ringstone.  The  representation  is  sim¬ 
ilar  to  the  preceding.  [Not  illustrated.] 

%  in.  x  %  in.  (7.54  mm.  x  10.32  mm.);  Th.  %  in.  (3.57  mm.). 
King  Collection,  No.  295.  Unpublished.  Convex  on  the  en¬ 
graved  side.  Acc.  No.  81.6.264. 

250  Carnelian  Ringstone.  A  bull  and  two  goats. 
One  goat  is  lying  down  under  a  tree;  the  other  is  standing 
up  on  its  hind  legs,  while  the  bull  has  its  head  down  as  if 
in  the  act  of  tossing.  Sketchy  but  spirited  work. 

2%  in.  x  %  in.  (9.92  mm.  x  13.1  mm.);  Th.  %  in.  (2.78  mm.). 
King  Collection,  No.  301.  Said  to  be  from  Athens.  Published 
by  King,  Ant.  Gems  and  Rings,  II,  woodcuts,  pi.  liii,  9.  Slightly 
convex  on  the  engraved  side.  Acc.  No.  81 .6. 1 36. 

251  Sard  Ringstone.  Head  of  a  ram,  to  right. 
Fair  work. 


Plate  6o 


NO.  222 


Portrait 


CARNELIAN 


GRAECO-ROMAN  PERIOD 


139 


For  similar  stones  cf.  Furtwangler,  Berl.  Kat.,  No.  7054, 
and  Imhoof-Blumer  u.  Keller,  Tier-  und  Pflanzenbilder, 
pi.  xviii,  45  (44=  Berlin  7054). 

114  in.  x  Ys  in.  (8.73  mm.  x  9.52  mm.);  Th.  Ms  in.  (i-59  mm.). 
King  Collection,  No.  307.  Unpublished.  Convex  on  the  en¬ 
graved  side.  Chipped  at  the  back.  Acc.  No.  81.6. 137. 


250 


252  Garnet  (Almandine)  Ringstone.  The  head  of  a 
dog,  Sirius,  deeply  engraved  in  full  front.  Fine  execution. 

For  another  example  of  this  effective  treatment  cf. 
the  famous  Marlborough  gem  in  Furtwangler,  A.  G.,  pi.  1, 
4,  now  in  the  collection  of  Mr.  Edward  Warren,  Lewes. 

The  rising  of  the  constellation  of  Sirius  marked  the  hot¬ 
test  period  of  the  year  in  Athens.  The  use  of  a  red  garnet 
for  a  representation  of  Sirius  successfully  carries  out  this 
idea. 

%  in.  x  %  in.  (13.89  mm.  x  10.32  mm.);  Th.  %  in.  (4.76 
mm.).  King  Collection,  No.  292.  Unpublished.  Convex  on 
both  sides.  Broken  across  the  middle  of  the  stone  and  re¬ 
attached.  Acc.  No.  81 .6.138. 

253  Carnelian  Ringstone.  An  elephant  creeping 
out  of  the  shell  of  a  snail;  in  the  field  are  inscribed  the  two 
letters  C  F.  Fair  execution. 

Elephants,  bulls,  donkeys,  hares,  and  other  animals 
creeping  out  of  snail  shells  formed  a  favorite  device  for 
gems  of  this  period,  its  absurdity  evidently  appealing  to 


140  CATALOGUE  OF  ENGRAVED  GEMS 

the  Roman  sense  of  humor;  cf.  Furtwangler,  A.  G.,  pi. 
xlvi,  35,  and  Berl.  Kat.,  Nos.  3348  ff.,  8344  ff.,  8545  ff. 

%  in.  x  Ke  in-  (7.94  mm.  x  1 1.1 1  mm.);  Th.  14  in.  (3.17  mm.). 
King  Collection,  No.  318.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  Ivi,  7;  illustrated,  King,  Precious  Stones, 
p.  335;  Hdbk.  of  Engraved  Gems,  p.  156.  Convex  on  both 
sides.  Acc.  No.  81.6.139. 


set  in  a  plain  gold  ring.  On  the  stone  is 
roughly  engraved  a  running  hound. 

(As  set)  %  in.  x  %  in.  (6.75  mm.  x  9. 13 
mm.).  From  Cyprus.  Cesnola  Collection. 
Cf.  Myres,  Handbook,  No.  4239.  Illustrated, 
Cesnola  Atlas,  III,  pi.  xxix,  5.  The  stone  is 
convex  on  the  engraved  side.  The  ring  is 
somewhat  bent.  Acc.  No.  C.  E.  34. 

255  Carnelian  set  in  a  gold  ring  with  flat  hoop  ex¬ 
panding  upwards.  On  the  stone  is  engraved  a  mouse,  in 
cursory  but  spirited  style. 

(As  set)  %  in.  x  %  in.  (3-97  mm.  x  5.16  mm.).  Purchased, 
1898.  Unpublished.  Said  to  have  been  found  at  Pantica- 
paeum,  Crimea.  Acc.  No.  G.  S.  369. 


254  Sard 


256  Sardonyx  set  in  a  plain  gold  ring.  On  the  stone 
is  engraved  an  ant.  Fair  work. 

For  similar  representations  cf.  Imhoof-Blumer  und  Kel¬ 
ler,  Tier-  und  Pflanzenbilder,  pi.  xxiv,  1  and  2. 

(As  set)  %,  in.  x  J4  in.  (7.94  mm.  x  6.35  mm.).  From  Cyprus. 
Cesnola  Collection.  Cf.  Myres,  Handbook,  No.  4240.  The 
stone  is  convex  on  the  engraved  side.  The  ring  is  somewhat 
bent.  Acc.  No.  C.  E.  35. 

257  Opaque  Black  Glass  Paste  with  white  band. 
Eagle  standing  on  the  head  of  a  boar.  Fair  execution. 

For  similar  representations  cf.  Furtwangler,  Berl.  Kat., 


Plate  6i 
no.  223 


Portrait 


SARD 


GRAECO-ROMAN  PERIOD  1 4 1 

Nos.  5744-5747,  and  Imhoof-BIumer  u.  Keller,  Tier- und 
Pflanzenbilder,  pi.  xx,  47. 

%  in.  x  in.  (12.3  mm.  x  9.92  mm.);  Th.  %  in.  (5.56  mm.). 
Greau  Collection.  Illustrated  in  Froehner,  Greau  Collection, 
pi.  liv,  16,  but  not  described  in  the  text.  Acc.  No.  17.194.56. 

258  Carnelian  Ringstone.  A  parrot  walking  to 
right  with  a  pair  of  cymbals  in  its  beak.  Fair  execution. 

The  parrot  is  of  the  Indian  variety,  with  tail  feathers 
bent  upward  (cf.  Imhoof-BIumer  u.  Keller,  Tier-  und 
Pflanzenbilder,  pi.  xxi,  1)  For  a  similar  representation 
cf.  Furtwangler  Berl  Kat.,  No.  3282. 

in.  x  %  in.  (9.92  mm.  x  14.29  mm.);  Th.  in.  (3.57  mm.). 
King  Collection,  No.  328.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  Iviii,  8;  Ant.  Gems  and  Rings,  II,  woodcuts, 
pl.  liv,  11.  Convex  on  both  sides.  Acc.  No.  81.6.140. 

259  Gold  Ring,  with  plain  hoop  broadening  at  the  top 
to  form  a  convex  bezel;  on  the  latter  is  engraved  a  flying 
bird  in  coarse  but  effective  deep-cut  style. 

D.  of  hoop,  %  in.  (17.86  mm.);  L.  of  bezel,  %  in.  (14.68  mm.); 
Wt.  86  grains  (5.6252  grammes).  From  Cyprus.  Cesnola 
Collection.  Cf.  Myres,  Handbook,  No.  4084.  Illustrated, 
Cesnola  Atlas,  III,  pl.  xxx,  6,  and  Cyprus,  pl.  xli,  10.  Acc.  No. 
C.  E.  36.  (In  Gallery  II:  C  32.) 

260  Gold  Ring,  with  plain  hoop  broadening  at  the 
top  into  a  flat  oval  bezel;  on  the  latter  a  bird  is  engraved 
in  cursory  style.  In  the  field  is  a  branch. 

D.  of  hoop,  %  in.  (15.08  mm.);  L.  of  bezel,  2%  in.  (10.71  mm.); 
Wt.  62 Yi  grains  (4.05  grammes).  From  Cyprus.  Cesnola 
Collection.  Cf.  Myres,  Handbook,  No.  4085.  Illustrated, 
Cesnola  Atlas,  III,  pl.  xxx,  1 1.  Acc.  No.  C.  E.  37.  (In  Gallery 
II:  C  32.) 

261  Gold  Ring  with  plain  thin  hoop,  broadening 
at  the  top  into  a  flat  oval  bezel;  on  the  latter  is  engraved 
a  bird  sitting  on  a  branch,  in  cursory  style. 


142  CATALOGUE  OF  ENGRAVED  GEMS 

D.  of  hoop,  in.  (17.06  mm.);  L.  of  bezel,  in.  (6.35  mm.); 
Wt.  17 Yi  grains  (1.154  grammes).  Purchased,  1895.  Un¬ 
published.  Acc.  No.  G.  S.  44. 

262  Carnelian  Ringstone.  A  snake  on  an  altar  or 
basket.  Careful  work. 

For  a  similar  representation  cf.  Furtwangler,  Berl. 
Kat.,  No.  3315,  and  Imhoof-Blumer  u.  Keller,  Tier-  und 
Pflanzenbilder,  pi.  xxiii,  9. 

2^4  in.  x  %  in.  (9.92  mm.  x  7.94  mm.);  Th.  ys  in.  (3.17  mm.). 
King  Collection,  No.  200.  Unpublished.  Convex  on  the  en¬ 
graved  side.  Acc.  No.  81.6.141. 

263  Red  Jasper  Ringstone.  Dolphin  and  trident. 
Sketchy  work. 

Compare  Furtwangler,  Berl.  Kat.,  No.  2346. 

%  in.  x  ys  in.  (6.75  mm.  x  9.52  mm.);  Th.  y  in.  (3.17  mm.). 
King  Collection,  No.  96.  Unpublished.  Slightly  convex  on 
the  engraved  side.  There  is  a  crack  on  the  lower  part  of  the 
stone.  Acc.  No.  81 .6. 142. 

264  Sard  Ringstone.  Crab.  Careful  work. 
Compare  Furtwangler,  Berl.  Kat.,  Nos.  5855-5859,  and 

Imhoof-Blumer  u.  Keller,  Tier-  und  Pflanzenbilder,  pi. 
xxiv,  27. 

%  in.  x  %  in.  (6.75  mm.  x  7.54  mm.);  Th.  in.  (2.78  mm.). 
King  Collection,  No.  95.  Unpublished.  Very  slightly  convex 
on  the  engraved  side.  Acc.  No.  81.6.262. 


GRVLLOI 

Fanciful  combinations  such  as  Nos.  265-278  are  gener¬ 
ally  called  grylloi,  the  word  being  derived  from  the  Italian 
grillo,  or  the  Latin  gryllus,  caricature  (cf.  Pliny,  Nat.  Hist., 
XXXV,  1 14,  where  he  speaks  of  one  Antiphilos  painting  a 
man  called  Gryllos  [pig]  so  skilfully  that  caricatures  were 
henceforth  called  grylloi.  “Idem  [Antiphilos]  iocosis 


Plate  62 


NO.  225 


Portrait 


CARN  ELIAN 


GRAECO-ROMAN  PERIOD  1 43 

nomine  Gryllum  deridiculi  habitus  pinxit,  unde  id  genus 
picturae  grylli  vocantur”).  But  it  is  very  probable  that 
many  of  these  fantastic  devices  mean  more  than  mere 
artists’  fancies,  and  were  worn  by  the  superstitious  Ro¬ 
mans  for  their  efficacy  in  averting  the  evil  eye.  This  is 
at  least  suggested  by  Plutarch’s  statement,  “  It  is  thought 
that  the  objects  said  to  act  as  safeguards  against  the  evil 
eye  derive  their  efficacy  from  their  strangeness,  which 
attracts  the  evil  eye  and  thus  lessens  its  force  against  its 
victims”  (Quaestiones  conviviales,  V,  6,  681F  ff.) .  It  is 
also  noteworthy  that  definite  types  of  combinations  were 
used  over  and  over  again.  For  early  examples  of  grylloi 
cf.  pp.  34  f.,  79- 

265  Sard  Ringstone.  Gryllos:  two  masks  (Poseidon 
and  Dionysos?)  conjoined  with  the  upper  part  of  an  eagle. 
In  the  field  are  a  trident,  a  thyrsos,  a  crab,  a  star,  and  the 
inscription  A I H .  Careful  work. 

5-j 6  in.  x  %  in-  (14.29  mm.  x  8.73  mm.);  Th.  %.  in.  (2.38  mm.). 
King  Collection,  No.  143.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  copperplates,  first  group,  iii,  26.  Acc.  No.  81.6.149. 

266  Sard  Ringstone.  Gryllos:  a  comic  bearded  mask 
conjoined  with  a  female  tragic  one.  Good  workman¬ 
ship. 

For  such  combinations  of  masks  compare  Furtwangler, 
Berl.  Kat.,  Nos.  7023  ff. 

%  in.  x  %  in.  (14.68  mm.  x  13.1  mm.);  Th.  V®,  in.  (2.38  mm.). 
King  Collection,  No.  191.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  xxxi,  3,  and  copperplates,  ii,  22;  illus¬ 
trated,  King,  Precious  Stones,  p.  18.  Slightly  convex  on  both 
sides.  Acc.  No.  81.6.150. 

267  Red  Jasper  Ringstone.  Gryllos:  five  masks 
conjoined  in  the  shape  of  a  cluster  of  grapes  hanging  from 


144  CATALOGUE  OF  ENGRAVED  GEMS 

a  stalk;  the  two  upper  masks  are  male,  the  others  female. 
Spirited  execution. 

%  in-  x%in.  (15.08  mm.  x  10.71  mm.);Th.  54  in.  (2.78  mm.). 
King  Collection,  No.  197.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  lvi,  13;  illustrated.  King,  Ant.  Gems,  p. 
328.  Very  slightly  convex  on  the  engraved  side.  Acc.  No. 
81.6.151. 

268  Sard  Ringstone.  Gryllos:  heads  of  a  ram  and  of 
a  Seilenos  combined.  Careful  work. 

y2  in.  x  %  in-  (12.7  mm.  x  1 1.91  mm.);  Th.  %,  in.  (2.38  mm.). 
King  Collection,  No.  317.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  lxxxi,  5;  Ant.  Gems  and  Rings,  II,  woodcuts, 
pi.  lvi,  11.  Acc.  No.  81.6.152. 

269  Red  Jasper  Ringstone.  Gryllos:  head  of  an 
elephant  carrying  a  lighted  torch  in  its  trunk,  combined 
with  the  masks  of  a  bearded  man  and  a  youth.  Careful 
work. 

For  similar  representations  cf.  Furtwangler,  Berk  Kat., 
Nos.  7811  ff. 

454  in.  x  %  in.  (17.86  mm.  x  13.49  mm.);  Th.  54  in.  (1.98 
mm.).  King  Collection,  No.  325.  Unpublished.  Very  slightly 
convex  on  the  engraved  side.  The  stone  is  broken  in  two  and 
reattached.  Acc.  No.  81.6.153. 


270  Red  Jasper  Ringstone.  Gryllos:  head  of  an 
elephant  holding  a  kerykeion  in  its  trunk  combined 
with  two  male  masks.  Sketchy  work. 

254  in.  x  %  in.  (10.71  mm.  x  13.1  mm.);  Th.  54  in.  (1.98  mm.). 
King  Collection,  No.  326.  Unpublished.  Very  slightly  convex 
on  the  engraved  side.  Chipped  along  the  edge.  Acc.  No. 
81.6.154. 

271  Carnelian  Ringstone.  Gryllos:  bearded  mask 
with  ram’s  horns  combined  with  the  heads  of  a  boar  and 
of  an  eagle.  Careful  work. 


GRAECO-ROMAN  PERIOD  1 45 

%  in.  x  %  in.  (15.08  mm.  x  11.51  mm.);Th.  %  in.  (4.36  mm.). 
King  Collection,  No.  323.  Published  by  King,  Ant.  Gems  and 
Rings,  11,  copperplates,  first  group,  iii,  34.  Convex  on  both 
sides.  Acc.  No.  81.6.155. 

272  Carnelian  Ringstone.  Gryllos:  heads  of  a 
horse,  a  goat,  and  a  boar  combined.  Fine  work. 

Compare  Murray-Smith,  Cat.  of  Engraved  Gems  in  the 
Brit.  Mus.,  No.  2067. 

%  in.  x  %  in.  (13.49  mm.  x  16.67  mm.);  Th.  %  in.  (2.38  mm.). 
King  Collection,  No.  308.  Unpublished.  Slightly  convex  on 
both  sides.  Acc.  No.  81.6. 1 56. 


273 


273  Carnelian  Ringstone.  Gryllos  in  the  form  of  a 
fantastic  bird  with  a  helmeted  human  head  and  a  bearded 
male  mask  on  the  breast;  it  carries  a  shield  and  two  spears, 
and  around  its  neck  is  a  serpent.  Below  the  feet  of  the 
bird  is  a  lizard.  Careful,  spirited  work. 

Compare  Furtwangler,  Berl.  Kat.,  No.  3340. 

%  in.  x  %  in.  (13.89  mm.  x  12.3  mm.);  Th.  in.  (2.38  mm.). 
King  Collection,  No.  324.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  lvi,  6;  illustrated.  King,  Ant.  Gems,  p. 
327.  Slightly  convex  on  the  engraved  side.  The  stone  is 
blanched  by  fire.  Acc.  No.  81 .6. 1 57. 

274  Carnelian  Ringstone.  Gryllos  in  the  form  of  a 
cock  with  the  head  and  neck  of  a  horse,  a  bearded  male 
mask  on  the  breast,  and  a  ram’s  head  with  an  ear  of  wheat 


146  CATALOGUE  OF  ENGRAVED  GEMS 

in  its  mouth  for  the  back  and  tail.  In  the  field  are  a  star 
and  a  crescent.  Good  execution. 

For  similar  representations  cf.  Furtwangler,  A.  G.,  pi. 
xlvi,  33,  and  Berl.  Kat.,  Nos.  3341  flf. 

This  combination  of  horse  and  cock  may  have  some  con¬ 
nection  with  the  Greek  hippalektryon  which  appears  on 
sixth-  and  fifth-century  monuments  (cf.  No.  16);  but  on 
the  Greek  examples  no  other  elements  besides  the  horse 
and  cock  appear. 

%  in.  X  %  in.  (14.29  mm.  x  9.52  mm.);  Th.  %  in.  (3.57  mm.). 
King  Collection,  No.  319.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  lvi,  5.  Convex  on  both  sides.  Acc. 
No.  81.6.158. 


275  Sardonyx  Ringstone.  In  the  sard  layer  is  en¬ 
graved  a  fantastic  eagle  with  a  bearded  human  head  on  the 
breast  and  an  animal  s  head  for  the  back;  in  its  beak  it 
has  a  wreath.  Fair  work. 

%  in.  x  %  in.  (9.13  mm.  x  6.75  mm.);  Th.  %  in.  (4.36  mm.). 
King  Collection,  No.  327.  Unpublished.  Strongly  convex  on 
the  engraved  side.  Acc.  No.  81.6.159. 

276  Yellowish  Chalcedony  Ringstone.  A  grass¬ 
hopper  with  the  head  of  a  ram  is  walking  to  the  right 
holding  two  ears  of  wheat,  and  carrying  on  its  shoulder  a 
cornucopia  from  which  emerge  an  ibex  and  a  bee.  Spir¬ 
ited  composition. 


Boy  with  Hoop 


sard 


GRAECO-ROMAN  PERIOD 


147 


y%  in.  x  %  in.  (9.52  mm.  x  13.49  mm.);  Th.  %,  in.  (2.38  mm.). 
King  Collection,  No.  321.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  lvi,  12.  Slightly  convex  on  the  en¬ 
graved  side.  Acc.  No.  81.6. 160. 

277  Sard  Ringstone.  A  fantastic  animal  with  the 
head  and  neck  of  an  ibex  and  the  body  of  a  scorpion,  carry¬ 
ing  a  trophy.  Fair  execution. 

%  in.  x  y2  in.  (10.32  mm.  x  12.7  mm.);  Th.  %  in.  (4.36  mm.). 
King  Collection,  No.  141.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  xvi,  6;  Osborne,  Engraved  Gems,  pi. 
xxvi,  12.  Convex  on  both  sides.  Acc.  No.  81.6.161. 


278 


278  Carnelian  Ringstone.  A  crab,  the  body  of 
which  is  formed  by  a  Seilenos  mask.  Spirited  work. 

4J4  in.  x  in.  (16.27  mm.  x  9.92  mm.);  Th.  %  in.  (3.57  mm.). 
King  Collection,  No.  142.  Unpublished.  Convex  on  the  en¬ 
graved  side.  Acc.  No.  81.6.162. 


OBJECTS  AND  SYMBOLS 


279  Gold  Ring  with  hoop  broadening  at  the  top  to 
form  a  convex  bezel;  on  the  latter  is  lightly  engraved  a 
rough  representation  of  the  temple  at  Paphos,  showing 
the  sacred  stone  within  it,  and  with  a  semicircular  fore¬ 
court. 


148  CATALOGUE  OF  ENGRAVED  GEMS 

Representations  of  this  famous  temple  occur  frequently 
on  such  rings  (cf.,  besides  the  examples  in  our  collec¬ 
tion,  Marshall,  Cat.  of  the  Finger  Rings  in  the  Brit. 
Mus.,  Nos.  134  flf.),  and  on  Roman  coins  of  Paphos 
(cf.,  e.  g.,  Babelon,  Les  Perses  Achemenides,  pi.  xxi,  fig. 
25).  For  a  description  of  the  shrine,  cf.  Myres,  Handbook, 
p.  124  f. 

D.  of  hoop,  %  in.  (16.67  mm.);  L.  of  bezel,  %  in.  (7.54  mm.); 
Wt.  32  grains  (2.0736  grammes).  From  Cyprus.  Cesnola 
Collection.  Cf.  Myres,  Handbook,  No.  4087.  Illustrated, 
Cesnola  Atlas,  III,  pi.  xxx,  16.  Acc.  No.  C.  E.  38.  (In  Gallery 
II:  C  32.) 


280  Gold  Ring  of  type  similar  to  the  preceding,  with 
similar  design.  [Not  illustrated.] 

D.  of  hoop,  4%  in.  (17.86  mm.);  L.  of  bezel,  %  in.  (7.54  mm.); 
Wt.  35H  grains  (2.3  grammes).  From  Cyprus.  Cesnola  Col¬ 
lection.  Cf.  Myres,  Handbook,  No.  4088.  Illustrated,  Cesnola 
Atlas,  III,  pi.  xxx,  25.  Acc.  No.  C.  E.  39.  (In  Gallery  II :  C  32.) 


281  Gold  Ring  of  type  similar  to  the  preceding  and 
with  a  rough  representation  of  the  Paphian  temple  show¬ 
ing  a  column  half  fallen,  “probably  a  real  observation  of 
some  striking  damage  left  long  unrepaired”  (Myres). 

D.  of  hoop,  in.  (19.45  mm.);  L.  of  bezel,  %  in.  (1 1.5 1  mm.); 
Wt.  51  grains  (3.3048  grammes).  From  Cyprus.  Cesnola  Col¬ 
lection.  Cf.  Myres,  Handbook,  No.  4089.  Illustrated,  Cesnola, 
Cyprus,  pi.  xli,  20.  Acc.  No.  C.  E.  40.  (  In  Gallery  II:  C  32.) 


282  Gold  Ring  of  similar  type  and  with  a  design  sim¬ 
ilar  to  that  of  the  preceding,  but  more  lightly  engraved. 
[Not  illustrated.] 

D.  of  hoop,  Y,  in.  (15.87  mm.);  L.  of  bezel,  %  in.  (7.54  mm.); 
Wt.  23  y2  grains  (1.5228  grammes).  From  Cyprus.  Cesnola 
Collection.  Cf.  Myres,  Handbook,  No.  4090.  Acc.  No.  C.  E. 
41.  (In  Gallery  1 1 :  C  32.) 


Plate  65 


GRAECO-ROMAN  PERIOD 


149 


283  Gold  Ring  consisting  of  two  hoops  broadening 
at  the  top  into  two  bezels  and  joined  together  below.  In 
the  space  between  the  hoops  are  soldered  two  gold  beads. 
On  the  bezels  are  very  roughly  engraved  two  views  of  the 
Paphian  temple.  [Not  illustrated.] 

D.  of  hoop,  %  in.  (17.46  mm.);  L.  of  bezels,  ^  in.  (11.11  mm.); 
Wt.  49  grains  (3.1752  grammes).  From  Cyprus.  Cesnola 
Collection.  Cf.  Myres,  Handbook,  No.  4091.  Illustrated,  Ces¬ 
nola  Atlas,  III,  pi.  xxx,  5.  Acc.  No.  C.  E.  42.  (In  Gallery  II: 
C  32.) 


285 


284  Gold  Ring  of  similar  type,  with  double  hoop  and 
double  bezel  and  a  wavy  twisted  wire  soldered  between 
the  two  hoops.  On  the  bezels  are  lightly  and  roughly  en¬ 
graved  a  representation  of  the  Paphian  temple  and  a  fern 
design,  both  now  almost  obliterated.  [Not  illustrated.] 

D.  of  hoop,  %  in.  (18.25  mm.);  L.  of  bezels,  %  in.  (7.94  mm.); 
Wt.  5 1  y2  grains  (3.3372  grammes).  From  Cyprus.  Cesnola 
Collection.  Cf.  Myres,  Handbook,  No.  4092.  Illustrated, 
Cesnola  Atlas,  III,  pi.  xxx,  2  (ring  but  not  intaglio).  Acc.  No. 
C,  E.  43.  (In  Gallery  II:  C  32.) 

285  Sard  Ringstone.  Round  altar,  wreathed,  with 
an  ear  of  wheat  above  it;  on  either  side  is  a  bird  perched 
on  a  leafy  branch,  which  is  held  by  a  hand.  Attractive 
composition. 


150  CATALOGUE  OF  ENGRAVED  GEMS 

For  a  similar  representation  cf.  Furtwangler,  Berl. 
Kat.,  No.  6043. 

%  in.  x  %  in.  (11.51  mm.  x  14.29  mm.);  Th.  %,  in.  (2.38 
mm.).  King  Collection,  No.  170.  Published  by  King,  Ant. 
Gems  and  Rings,  II,  woodcuts,  pi.  liv,  13.  Very  slightly  con¬ 
vex  on  the  engraved  side.  Slightly  chipped  around  the  edge. 
Acc.  No.  81.6.163. 

286  Carnelian  Ringstone.  Clasped  hands  with  two 
wheat-ears  and  a  flower. 

For  a  similar  representation  cf.  Furtwangler,  Berl. 
Kat.,  No.  3390.  The  design  of  clasped  hands  was  prob¬ 
ably  used  for  betrothal  rings  (cf.  Marshall,  Cat.  of  Fin¬ 
ger  Rings  in  the  Brit.  Mus.,  p.  xxii). 

%  in.  x  in.  (8.73  mm.  x  1 1 . 1 1  mm.) ;  Th.  %,  in.  (2.38  mm.). 
King  Collection,  No.  171.  Unpublished.  Very  slightly  convex 
on  the  engraved  side.  Acc.  No.  81.6.164. 

287  Garnet  (Pyrope)  Ringstone.  A  winged  foot 
resting  on  a  butterfly. 

For  similar  representations  cf.  Furtwangler,  Berl.  Kat., 
Nos.  6087-6090. 

%  in.  x  %  in.  (1 1.91  mm.  x  10.32  mm.);  Th.  %  in.  (1.98  mm.). 
King  Collection,  No.  156.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  xxii,  7  and  copperplates,  second  group, 
iv,  9;  illustrated,  King,  Ant.  Gems,  pi.  iv,  9;  Precious  Stones,  p. 
172.  Convex  on  both  sides.  Acc.  No.  81.6.163. 

288  Light  Purple  Glass  Paste.  Cornucopia  filled 
with  fruit  at  which  a  bird  is  pecking,  steering-rudder,  and 
globe.  Fair  work. 

For  similar  representations  cf.  Furtwangler,  Berl.  Kat., 
Nos.  6131  ff. 

%  in.  x  %  in.  (16.27  mm.  x  15.08  mm.);  Th.  in.  (3.97  mm.). 
Greau  Collection,  No.  1017.  Published  by  Froehner,  Greau 
Collection,  pi.  clxxiv,  2.  Chipped  around  the  edge.  Acc.  No. 
17.194.57. 


Plate  66 

NO.  252 


The  Dog  Sirius 


garnet 


GRAECO-ROMAN  PERIOD 


151 

289  Green  Glass  Paste  set  in  a  plain  gold  ring.  On 
the  paste  is  engraved  a  vase  with  a  branch  on  each  side. 
Cursory  work. 

(As  set)  %  in.  x  y2  in.  (16.67  mm.  x  12.7  mm.).  From  Cyprus. 
Cesnola  Collection.  Cf.  Myres,  Handbook,  No.  4245-  Ulus- 
trated,  Cesnola  Atlas,  III,  pi.  xxix,  9.  The  paste  is  convex  on 
the  engraved  side.  The  surface  of  the  glass  is  considerably 
scratched  and  corroded.  Acc.  No.  C.  E.  44. 


290  Gold  Ring  with  double  hoop  and  bezel  and  joined 
together  below.  On  each  of  the  bezels  is  roughly  engraved 
a  fern  design  surrounded  by  dots. 

D.  of  hoop,  in.  (17.06  mm.);  L.  of  bezels,  %  in.  (6.75  mm.); 
Wt.  3 6y2  grains  (2.3652  grammes).  From  Cyprus.  Cesnola 
Collection.  Cf.  Myres,  Handbook,  No.  4093.  Illustrated, 
Cesnola  Atlas,  III,  pi.  xxx,  3,  and  Cyprus,  pi.  xli,  22.  Acc.  No. 
C.  E.45.  (In  Gallery  II:  C  32.) 

291  Gold  Ring  similar  to  the  above,  roughly  engraved 
on  its  two  bezels  with  a  fern  design  and  a  wreath. 

D.  of  hoop,  %  in.  (15.08  mm.);  L.  of  bezels:  fern,  %  in.  (6.75 
mm.),  wreath,  M  in.  (6.35  mm.);  Wt.  24^  grains  (1.5876 
grammes).  From  Cyprus.  Cesnola  Collection.  Cf.  Myres, 
Handbook,  No.  4094.  Illustrated,  Cesnola  Atlas,  III,  pi. 
xxx, 4.  Acc.  No.  C.  E.  46.  (In  Gallery  II:  C  32.) 

292  Gold  Ring  broadening  at  the  top  to  form  a 
rounded,  flat  bezel;  on  the  latter  a  wreath  is  roughly  en¬ 
graved. 

D.  of  hoop,  Ys  in.  ( 1 5.87  mm.);  L.  of  bezel,  y  in.  (6.35  mm.); 
Wt.  52  grains  (3.3696  grammes).  From  Cyprus.  Cesnola 
Collection.  Cf.  Myres,  Handbook,  No.  4095.  Illustrated, 
Cesnola  Atlas,  III,  pi.  xxx,  22.  Acc.  No.  C.  E.  47.  (In  Gallery 
II:  C  32.) 

293  Sard  Ringstone.  Kerykeion  surrounded  by  a 
wreath.  At  the  back  is  the  inscription  AX0IG)4>I. 


%  in.  x  %  in.  (i  5.08  mm.  x  1 1.91  mm.);  Th.  %  in.  (3.97  mm.). 
King  Collection,  No.  155.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  lxxv,  8;  Ant.  Gems  and  Rings,  II,  woodcuts, 
pi.  xxii,  5;  illustrated,  King,  Precious  Stones,  p.  185.  Slightly 
convex  on  both  sides.  A  small  chip  on  the  lower  edge  is  missing. 
Acc.  No.  81 .6.166. 

294  Gold  Ring  with  hoop  broadening  at  the  top  to 
form  a  bezel,  on  which  is  incised  the  inscriptionGTTAr AGCO 
( kir’ayaOui ),  “for  your  good”  or  “good  luck.” 

This  ring  and  most  of  the  following  are  so  small  that 
they  must  have  been  worn  either  by  children  or  on  the 
upper  joints  of  the  smaller  fingers. 

D.  of  hoop,  %  in.  (13.49  mm.);  L.  of  bezel,  %  in.  (7.94  mm.); 
Wt.  16  grains  (1.0368  grammes).  From  Cyprus.  Cesnol a  Col¬ 
lection.  Cf.  Myres,  Handbook,  No.  4100.  Acc.  No.  C.  E.  48. 
(In  Gallery  1 1 :  C  32.) 

295-3° 1  Gold  Rings  of  the  same  type  as  the  pre¬ 
ceding,  with  the  same  inscription,  either  incised  (295-298) 
or  in  punctured  letters  (299,  300,  301).  The  letters  are 
sometimes  very  roughly  scratched  (295),  or  are  almost 
illegible  through  wear  (301).  [Not  illustrated.] 

295  D.  of  hoop,  %  in.  (13.49  mm.);  L.  of  bezel,  %in.  (8.33  mm.); 

Wt.  20  grains  (1.296  grammes). 

296  D.  of  hoop,  34  in.  (12.7  mm.);  L.  of  bezel,  %  in.  (6.75  mm.); 

Wt.  12  Yi  grains  (0.81  grammes). 

297  D.  of  hoop,  %  in.  ( 1 1. 91  mm.);  L.  of  bezel,  %  in.  (7.94  mm.); 

Wt.  10  grains  (0.648  grammes). 

298  D.  of  hoop,  %  in.  (13.89  mm.);  L.  of  bezel,  %2in.  (7.14  mm.); 

Wt.  18  y2  grains  (1 . 1988  grammes). 

299  D.  of  hoop,  %  in.  ( 1 3.1  mm.);  L.  of  bezel,  Min.  (6.35  mm.); 

Wt.  1 6y2  grains  (1.0692  grammes). 

300  D.  of  hoop,  %  in.  (14.68  mm.);  L.  of  bezel,  %  in.  (8.33  mm.); 

Wt.  26  Yi  grains  (1.7 1 72  grammes). 

301  D.  of  hoop,  %  in.  (17.46  mm.);  L.  of  bezel,  y8  in.  (9.52  mm.); 

Wt.  20  y2  grains  (1 .3284  grammes). 

From  Cyprus.  Cesnola  Collection.  Cf.  Myres,  Handbook, 
Nos.  4096-4099,  4101,  4102,  4109.  Illustrated,  Cesnola  Atlas, 


Plate  67 


GRAECO- ROMAN  PERIOD  I  5  3 

III,  pi.  xxx,  8  (296),  9  (297),  13  (298),  23  (299),  19  (300).  Acc. 
Nos.  C.  E.  49-55.  (In  Gallery  1 1 :  C  32.) 


302-304  Gold  Rings  similar  to  the  preceding,  in¬ 
scribed  withthe  same  wish  in  the  plural  form  G  n  AT A0O1C, 
e7r’  ayaOols.  In  303  the  letters  are  incised,  in  302  and  304 
punctured.  [Only  No.  302  is  illustrated.] 

302  D.  of  hoop,  %  in.  (15.08  mm.);  L.  of  bezel,  %  in.  (8.73  mm.); 

Wt.  27  grains  (1.7496  grammes). 

303  D.  of  hoop,  %  in.  ( 1 5.87  mm.);  L.  of  bezel,  %  in.  (8.33  mm.); 

Wt.  4614  grains  (3.0132  grammes). 

304  D.ofhoop,%in.  (14.68  mm.);  L. of  bezel,  %  in.  (7.94mm.) ; 

Wt.  25  Yi  grains  (1.6524  grammes). 

From  Cyprus.  Cesnola  Collection.  Cf.  Myres,  Handbook, 
Nos.  4104,  4103,  4105.  Illustrated,  Cesnola  Atlas,  III,  pi.  xxx, 
24,18,14.  Acc.  Nos.  C.  E.  56-58.  (In  Gallery  II:  C  32.) 


305-306  Gold  Rings  with  flat  polygonal  hoops  broad¬ 
ening  upwards.  Inscribed  in  punctured  letters  kir’  ay adols. 
[Not  illustrated.] 

305  D.  of  hoop,  %in.  (13.1  mm.);  L.  of  bezel,  %  in.  (10.32  mm.);: 

Wt.  16  y  grains  (1.0692  grammes).  . 

306  D.of  hoop,  %  in.  (13.49mm.);  L.  of  bezel,  %  in.  (9.52  mm.);: 

Wt.  22  y2  grains  (1.458  grammes). 

From  Cyprus.  Cesnola  Collection.  Cf.  Myres,  Handbook,. 
Nos.  4106,  4107.  Illustrated,  Cesnola  Atlas,  III,  pi.  xxx,  15, 
12.  Acc.  Nos.  C.  E.  59-60.  (In  Gallery  II :  C  32.) 


307  Gold  Ring  with  plain  hoop  slightly  broadening 
at  the  top  into  a  bezel  on  which  is  inscribed  in  punctured 
letters  4>VAA§  (for  4>v\aaae),  “keep  guard.”  [Not  illus¬ 
trated.] 

D.  of  hoop,  %  in.  (14.68  mm.);  L.  of  bezel,  %  in.  (12.3  mm.); 
Wt.  10  grains  (.648  grammes).  From  Cyprus.  Cesnola  Collec¬ 
tion.  Cf.  Myres,  Handbook,  No.  4108.  Acc.  No.  C.  E.  61.  (In 
Gallery  II:  C  32.) 


154  CATALOGUE  OF  ENGRAVED  GEMS 

308  Gold  Ring  broadening  at  the  top  to  form  an  oval 
bezel  on  which  is  engraved  XAPA  (“joy  to  you”),  in  punc¬ 
tured  letters.  [Not  illustrated.] 

For  similar  rings  cf.  S.  Reinach,  Antiquites  du  Bosphore 
Cimm6rien,  pi.  xviii,  21-23,  25;  Stephani,  Compte-rendu, 
1861,  p.  1 10  and  1878,  p.  38. 

D.  of  hoop,  %  in.  (17.06  mm.);  L.  of  bezel,  %  in.  (7.54  mm.); 
Wt.  29  H  grains  (1.9116  grammes).  Purchased,  1898.  Un¬ 
published.  Said  to  have  been  found  at  Panticapaeum,  Crimea. 
Acc.  No.  G.  S.  370.  (In  Gallery  II:  C  32.) 

309  Gold  Ring  with  flat  hoop  and  narrow  oval  bezel; 
on  the  latter  is  engraved  the  name  FV.VIA.  [Not  illus¬ 
trated.] 

D.  of  hoop,  %  in.  (14.68  mm.);  L.  of  bezel,  %2  in.  (7. 1 4  mm.); 
Wt.  31  14  grains  (2.0412  grammes).  Purchased,  1895.  Un¬ 
published.  Acc.  No.  G.  S.  43.  (In  Gallery  1 1 :  C  32.) 

310  Gold  Ring  with  flat  hoop  broadening  at  the  top 
into  a  convex  bezel ;  on  the  latter  are  roughly  engraved  the 
letters  T  S  M.  [Not  illustrated.] 

D.  of  hoop,  %  in.  (14.68  mm.);  L.  of  bezel,  %,  in.  (7.14  mm.); 
Wt.  55  grains  (3.5777  grammes).  Purchased,  1895.  Un¬ 
published.  Acc.  No.  G.  S.  31.  (In  Gallery  1 1 :  C  32.) 

31 1  Carnelian  Ringstone,  with  inscription  in  en¬ 
graved  letters  KY n  PI  C6E0AEI  XAIPE1N,  “Cypris 
sends  her  greetings  to  Theodes.” 

%  in.  x  Yi  in.  (10.71  mm.  x  12.7  mm.);  Th.  R6  in.  (1 .59  mm.),. 
King  Collection,  No.  330.  Unpublished.  Very  slightly  convex 
on  both  sides.  Slightly  chipped  on  one  side.  Acc.  No.  81.6.206. 

II.  Cameos  and  Work  in  the  Round 
DEITIES — ZEUS 

312  Purple  Glass.  Head  of  Zeus  Ammon,  three- 
quarters  front.  Fine,  idealistic  type. 


Plate  68 


GRAECO-ROMAN  PERIOD  I  5  5 

Compare  the  similar  heads  on  the  engraved  stones  Nos. 
125,  126  in  this  collection. 

%  in.  x%  in.  (12.3  mm.  x  10.71  mm.);  Th.  54  in.  (3.97  mm.). 
Greau  Collection,  No.  496.  Published  by  Froehner,  Greau 
Collection,  pi.  liv,  15.  The  back  is  convex;  a  small  chip  is  miss¬ 
ing  at  the  top.  Acc.  No.  17.194. 1. 

APOLLO 

313  White  on  Transparent  Greenish  Yellow 
Glass.  Apollo  is  seated  to  the  right,  holding  the  lyre 
in  one  arm  and  placing  the  other  over  his  head.  Careful 
work.  The  soft  forms  of  the  body  and  its  nudity  point 
to  a  late  Greek  original  for  this  type  (cf.  Furtwangler  in 
Roscher’s  Lexikon,  under  Apollo,  cols.  466-467). 

1  in.  x  %  in.  (25.4  mm.  x  21.43  mm.);  Th.  54  in.  (3.97  mm.). 
Greau  Collection,  No.  546.  Published  by  Froehner,  Gr6au 
Collection,  pi.  lvi,  15.  The  surface  of  the  yellow  glass  is  partly 
iridescent  and  the  representation  is  slightly  worn  as  well  as 
chipped  in  places.  Acc.  No.  17. 194.2. 

314  Opaque  White  Glass.  Apollo,  with  his  mantle 
hanging  down  his  back,  is  advancing  to  the  right,  playing 
the  lyre. 

This  beautiful  composition  of  Apollo  playing  inspired 
music  was  created  in  the  fourth  century  B.  C.,  probably 
by  Skopas,  and  was  frequently  reproduced  in  Roman 
times  (cf.  Furtwangler  in  Roscher’s  Lexikon,  under  Apollo, 
cols.  463-464). 

%in.  x%in.  (17.46  mm.  x  16.27  mm.);  Th.  54  in.  (2.38  mm.). 
Greau  Collection,  No.  534.  Published  by  Froehner,  Gr£au 
Collection,  pi.  lvi,  1.  Chipped  along  the  edge  on  one  side;  the 
surface  is  much  worn.  Acc.  No.  17. 194.3. 


ATHENA 

315  Opaque  White  and  Brownish  Glass,  in  imita¬ 
tion  of  sardonyx.  Bust  of  Athena  in  profile  to  right.  The 


1 56  CATALOGUE  OF  ENGRAVED  GEMS 

helmet,  aegis,  and  background  are  made  of  brown  glass, 
which  has  now  become  iridescent;  the  rest  is  in  white 
opaque  glass.  Good,  careful  work. 

For  a  similar  bust,  to  left,  in  sardonyx,  cf.  Babelon, 
Cat.  des  Camees  de  la  Bib.  Nat.,  pi.  iii,  No.  24. 

x  %>  in.  (18.25  mm.  x  14.29  mm.);  Th.  54  in.  (3.97  mm.). 
Greau  Collection,  No.  494.  Published  by  Froehner,  Greau 
Collection,  pi.  liv,  12-13.  Acc.  No.  17.194.4. 


APHRODITE  AND  EROS 

316  Opaque  White  Glass.  Aphrodite  is  standing 
nude,  with  both  arms  raised,  probably  to  fasten  or  dry  her 
hair  (the  upper  part  is  missing) ;  a  small  Eros  is  by  her  side, 
apparently  holding  up  a  mirror.  Attractive  composition. 

The  type  is  that  of  the  well-known  Aphrodite  Anadyo- 
mene,  which  occurs  in  many  statues,  statuettes,  and  gems, 
and  evidently  goes  back  to  a  famous  original  (cf.  Bernoulli, 
Aphrodite,  pp.  284  ff.).  For  a  similar  representation, 
but  with  two  Erotes,  on  an  engraved  gem,  cf.  Furtwangler, 
Berk  Kat.,  No.  2387. 

in.  x  554  in.  (18.65  mm.  x  21.83  mm.);  Th.  %  in.  (3.57  mm.). 
Greau  Collection,  No.  537.  Published  by  Froehner,  Greau 
Collection,  pi.  lvi,  4.  The  surface  is  considerably  worn.  Acc. 
No.  17. 194.5. 

317  Opaque  White  on  Transparent  Yellow  Glass. 
Eros  represented  as  a  child,  holding  a  flaming  torch  up¬ 
side  down.  Cursory  workmanship. 

Eros  with  the  inverted  torch  as  funerary  genius  makes 
his  appearance  in  the  Hellenistic  period  (cf.  Furtwangler 
in  Roscher’s  Lexikon,  under  Eros,  cols.  1364,  1369). 

Ys  in.  x  L54  in.  (1 5.87  mm.  x  1 1.91  mm.);  Th.  54  m.  (2.38  mm.). 
Greau  Collection,  No.  541.  Published  by  Froehner,  Greau 
Collection,  pi  lvi,  10.  A  small  piece  on  one  side  is  missing;  the 
surface  is  considerably  worn.  Acc.  No.  17.194.6, 


Plate  69 

NO.  272 


Gryllos 


CARN  ELIAN 


GRAECO-ROMAN  PERIOD 


157 


318  White  on  Opaque  Blue  Glass.  Eros  repre¬ 
sented  as  a  child  carrying  the  weapons  of  Herakles;  in  his 
right  hand  he  carries  the  quiver,  over  his  left  shoulder  the 
club  and  the  lion’s  skin.  Careful  work. 

The  child  Eros  as  subduer  of  Herakles,  the  strong  hero, 
was  a  Hellenistic  conception  (cf.  Furtwangler,  in  Roscher’s 
Lexikon,  under  Eros,  col.  1368).  It  is  a  favorite  subject 
on  gems  of  the  Hellenistic  and  Graeco- Roman  periods;  cf. 
Furtwangler,  A.  G.,  pi.  lxii,  2,  and  the  references  there 
quoted;  also  our  No.  98. 

%in.  x%  in.  (20.64  mm.  X9.13  mm.);Th.  y8  in.  (3.17  mm.). 
Greau  Collection,  No.  548.  Published  by  Froehner,  Greau 
Collection,  pi.  lvi,  18.  Broken  in  three  pieces  and  repaired. 
Acc.  No.  17. 194.7. 


319  Opaque  White  Glass.  Eros  and  Psyche  em¬ 
bracing  each  other.  Fair  execution. 

For  a  similar  group  on  an  engraved  gem  cf.  Furtwangler, 
A.  G.,  pi.  xlii,  51.  Eros  grouped  with  Psyche  is  a  favorite 
motive  in  Hellenistic  and  Roman  times,  and  appears 
also  in  fourth-century  art  (cf.  Furtwangler  in  Roscher’s 
Lexikon,  under  Eros,  cols.  1370  ff.).  Its  appeal  to  modern 
taste  is  shown  by  its  popularity  in  contemporary  art. 

%  in.  x  s%4  in.  (18.65  rnrr.,  x  13-89  mm.);  Th.  K  in.  (6.35  mm.). 
Greau  Collection,  No.  547.  Published  by  Froehner,  Greau 
Collection,  pi.  lvi,  16.  The  side  with  the  representation  is  con¬ 
vex.  A  piece  at  the  top  is  missing.  Acc.  No.  17.194.8. 


DIONYSOS  AND  FOLLOWERS 

320  Sardonyx:  opaque  white  on  transparent  yellow¬ 
ish  ground.  Dionysos  and  Ariadne  in  a  chariot  drawn  by 
two  panthers:  Dionysos  is  sitting  in  Ariadne’s  lap,  while 
an  Eros  stands  on  the  back  of  one  panther  and  guides  the 
reins;  one  panther  wears  a  garland  of  ivy  around  his  neck. 


1 58  CATALOGUE  OF  ENGRAVED  GEMS 

the  other  around  his  body.  Fine,  careful  work,  but 
rather  tame  composition. 

For  similar  representations  on  other  monuments,  cf. 
Stoll  in  Roscher’s  Lexikon,  under  Ariadne,  col.  546.  Com¬ 
pare  also  Babelon,  Cat.  des  Camees  de  la  Bib.  Nat.,  pi. 
ix,  79. 

1  ^  in.  x  i%4  in.  (27.78  mm.  x  26.59  mm.);  Th.  He  in.  (476 
mm.).  Purchased,  1906.  Described,  Museum  Bulletin,  1907, 
p.  125,  No.  1 5.  Part  of  the  right  side  is  missing,  and  the  edge  is 
chipped  in  places.  Acc.  No.  06. 1 204. 

321  Opaque  White  on  Transparent  Purple  Glass. 
Dionysos,  reclining  on  a  couch,  is  taking  a  nymph  by  the 
arm  and  drawing  her  to  him;  both  are  partly  nude,  and 
Dionysos  holds  a  kantharos  in  his  left  hand.  To  the  right 
is  a  small  Pan  apparently  playing  the  syrinx. 

An  identical  group,  in  onyx,  is  in  the  British  Museum 
(not  numbered) ;  for  a  fragment  of  a  similar  composition, 
with  positions  reversed,  cf.  Furtwangler,  A.  G.,  pi.  lii,  3. 

%  in.  x  1%  in.  (23.41  mm.  x  29.76  mm.);  Th.  %  in.  (4.36 
mm.).  Greau  Collection,  No.  551.  Published  by  Froehner, 
Gr6au  Collection,  pi.  lvi,  22.  The  surface  of  the  purple  glass  is 
iridescent.  The  representation  is  worn.  Acc.  No.  17. 194.9. 

322  White  on  Opaque  Blue  Glass.  Frenzied 
Maenad  with  head  thrown  back,  in  profile  to  left;  she  wears 
a  chiton  and  the  nebris  and  holds  a  piece  of  drapery  in  both 
hands.  Spirited  composition. 

Maenads  in  Bacchic  frenzy  are  favorite  representations 
in  Hellenistic  and  Roman  reliefs.  They  are  developed 
from  earlier  types,  since  similar  representations  occur  on 
fifth-century  Athenian  vases  (cf.  Rapp  in  Roscher’s  Lexi¬ 
kon,  under  Maenaden,  cols.  2270  ff.,  and  figs.  4,  5a  and  5b). 
The  motives  and  attributes  show  considerable  variety. 
For  other  examples  of  a  Maenad  dancing  with  a  piece  of 
drapery  in  her  hands,  cf.  Rapp,  op.  cit.,  col.  2282.  For  a 


Plate  70 


GRAECO-ROMAN  PERIOD  1 59 

representation  of  the  subject  on  an  engraved  glass  gem 
cf.  Furtwangler,  A.  G.,  pi.  xxxvi,  36. 

1%  in.  x  1%  in.  (34.53  mm.  x  27.38  mm.);  Th.  %  in.  (5.95 
mm.).  Gr£au  Collection,  No.  540.  Published  by  Froehner, 
Gr£au  Collection,  pi.  lvi,  9.  Broken  across  the  middle  and  re¬ 
attached;  chipped  on  the  upper  edge.  Acc.  No.  17. 194.10. 

NIKE 

323  Turquoise  Blue  Glass.  Bust  of  the  winged 
Nike  in  high  relief,  holding  a  palm  branch.  Fair  execu¬ 
tion,  probably  antique. 

%  in.  x  %  in.  (23.02  mm.  x  19.05  mm.);  Th.  %  in.  (9.13  mm.). 
Grdau  Collection.  Illustrated,  Froehner,  Greau  Collection,  pi. 
lvi,  6,  but  not  described.  The  surface  is  considerably  worn. 
Acc.  No.  17.194.270. 


EOS 

324  Sardonyx:  opaque  white  on  transparent  yellow. 
Eos,  the  goddess  of  Dawn,  driving  to  left  a  biga  with 
galloping  horses.  Lively  composition,  and  careful  but 
rather  hard  execution. 

The  subject  is  a  favorite  one  in  this  period;  cf.,  e.  g., 
Furtwangler,  A.  G.,  pi.  Ivii,  5,  and  Babelon,  Cat.  des 
Camees  de  la  Bib.  Nat.,  Nos.  37  and  38. 

%  in.  x  iJ4in.  (19.84  mm.  x  26. 19  mm.);  Th.  %,  in.  (3.97  mm.). 
Purchased,  1910.  Mentioned,  Museum  Bulletin,  1910,  p.  276. 
A  piece  from  the  left  upper  comer  is  missing.  Acc.  No.  10. 132.2. 

HARPOKRATES 

325  Sardonyx:  opaque  white  on  transparent  brown, 
set  in  an  eighteenth-century  slide.  Harpokrates,  in  high  re¬ 
lief,  is  represented  as  a  child  seated  to  right,  with  his  right 
hand  brought  to  his  mouth  and  the  left  holding  a  cornu¬ 
copia.  The  workmanship  is  excellent;  it  is  probably 
antique,  but  reworked  in  Renaissance  or  modern  times. 


l6o  CATALOGUE  OF  ENGRAVED  GEMS 

Harpokrates,  the  Egyptian  Horus,  god  of  light,  was 
regularly  represented  in  Graeco-Roman  art  as  a  child, 
symbolical  of  the  young  sun  born  anew  every  morning. 
The  characteristic  gesture  of  the  forefinger  placed  on  the 
mouth  is  symbolical  of  childhood;  it  was  later  misinter¬ 
preted  to  indicate  silence. 

(As  set)  %  in.  x  %  in.  (23.02  mm.  x  fc).84  mm.).  Purchased, 
1910.  From  the  Marlborough  Collection,  before  that  in  the 
Arundel  Collection.  Described  by  Story-Maskelyne,  The  Marl¬ 
borough  Gems,  p.  50,  No.  283;  mentioned,  Museum  Bulletin, 
1910,  p.  276.  The  toes  of  the  right  foot  are  missing.  Acc.  No. 
10.131. 3. 


HEROES 

326  Opaque  White  on  Opaque  Black  Glass. 
Achilles  seizing  by  the  hair  the  young  Troilos,  who  is  on  a 
horse  galloping  to  the  left.  Good  execution. 

The  composition  is  evidently  inspired  by  similar  groups 
of  Amazons  and  Greeks  which  occur  on  fourth-  and  third- 
century  monuments;  for  instance,  on  the  famous  Amazon 
sarcophagus  in  Vienna,  cf.  C.  Robert,  Die  antiken  sar- 
kophag- Reliefs,  pi.  xxvii,  68  and  p.  79. 

Scenes  from  the  story  of  Achilles  killing  Troilos,  king 
Priam’s  youngest  son,  are  frequent  in  Greek  art,  especially 
on  the  Athenian  black-figured  vases.  Various  incidents 
from  the  legend  are  chosen— the  lying  in  ambush,  the  pur¬ 
suit,  the  actual  killing,  and  the  fight  over  the  body.  It  is 
interesting  to  compare  the  representation  on  our  cameo 
with  that  on  an  early  black-figured  vase  (Louvre  E  703  = 
Reinach,  Repertoire  des  vases  peints,  II,  92),  where  the 
same  moment  is  chosen  of  Achilles  snatching  Troilos  from 
his  horse;  but  rendered  in  a  more  archaic,  less  finished,  and 
much  more  spirited  manner. 

%  in.  x  1%  in.  (20.64  mm.  x  26.59  mm.);  Th.  %.  in.  (3.97  mm.). 
Greau  Collection,  No.  553.  Published  by  Froehner,  Greau 


}12 


GRAECO-ROMAN  PERIOD  1 6 1 

Collection,  pi.  lvi,  24.  Chipped  in  places;  the  surface  is  con¬ 
siderably  rubbed.  Acc.  No.  17. 194. 12. 


327  Blue  Glass,  partly  transparent.  Two  wrestlers: 
one  is  lifting  the  other  from  the  ground,  preparatory  to 
throwing  him.  Cursory  work. 

Though  no  attributes  are  given,  this  scene  probably 
refers  to  Herakles  and  Antaios;  cf.  Furtwangler,  A.  G., 
pi.  xliii,  67,  68.  The  later  version  of  this  story  was  that 
Herakles  strangled  Antaios  in  the  air  (cf.  Furtwangler  in 
Roscher’s  Lexikon,  under  Herakles,  col.  2245,  and  our 
gem  No.  413). 

%  in.  x  y2  in.  (17.86  mm.  x  12.7  mm.);  Th.  %  in.  (5.16  mm.). 
Greau  Collection,  No.  515.  Published  by  Froehner,  Greau 
Collection,  pi.  Iv,  32.  A  piece  from  the  lower  side  is  missing. 
Acc.  No.  17. 194. 13. 


MONSTERS 

328  White  on  Transparent  Purple  Glass.  The 
head  of  Medusa  with  wings  and  serpents  in  her  hair,  in 
three-quarters  view.  Good,  spirited  work.  1  he  ele¬ 
ment  of  pathos  in  the  face  is  finely  conveyed. 

For  a  discussion  of  this  type  of  Medusa  cf.  under  No. 
82.  For  a  similar  representation  on  a  Roman  cameo  cf. 
Furtwangler,  A.  G.,  pi.  lii,  4. 

%  in.  x  1  in.  (22.62  mm.  x  25.4  mm.);  Th.  %>  in.  (7.14  mm.). 
Greau  Collection,  No.  542.  Published  by  Froehner,  Greau  Col¬ 
lection,  pi.  lvi,  1 1 .  Chipped  around  the  edge.  Acc.  No.  1 7.1 94.1 1. 

PORTRAITS 

329  Blue  Turquoise,  superimposed  on  dark  blue  glass 
paste  and  set  in  a  beautifully  chased  and  enameled  gold 
ring  of  elaborate  workmanship.  The  ring  is  of  the  Re¬ 
naissance  period,  but  the  cameo  appears  to  be  classical. 


162  catalogue  of  engraved  gems 

of  the  Augustan  period.  It  represents  the  head  of  Alex¬ 
ander  the  Great,  in  profile  to  left.  Fine,  careful  work,  but 
not  spirited  enough  to  date  from  Hellenistic  times. 

(As  set)  %  in.  x  %  in.  (13.49  mm.  x  12.3  mm.).  Purchased, 
1910.  Formerly  in  the  collection  of  the  Este  family.  Described, 
Museum  Bulletin,  1910,  p.  276.  Acc.  No.  10.110.2.  (In  Gallery 

1 1 :  C  32.) 


329 


330  Dark  Brown  on  Bluish  White  Glass,  in  imi¬ 
tation  of  sardonyx.  Head  of  Augustus  in  three-quarters 
front,  wearing  a  laurel  wreath,  in  high  relief.  Careful 
work.  [Illustrated  on  pi.  74.] 

The  features,  the  structure  of  the  head,  and  the  arrange¬ 
ment  of  the  hair  are  all  characteristic  of  Augustus.  Com¬ 
pare  for  a  similar  cameo  Bernoulli,  Romische  Ikonographie, 
11,  1,  pi.  xxvi,  6,  pp.  51  ff. 

1%  in.  x  ys  in.  (28.97  nun.  x  22.22  mm.);  Th.  in.  (11.11 
mm.).  From  Cyprus.  Cesnola  Collection.  Cf.  Myres,  Hand¬ 
book,  No.  4297.  Chipped  along  the  lower  edge.  Acc.  No. 
C.  E.  62. 

331  Onyx:  opaque  white  on  opaque  gray.  Male 
portrait-bust  with  cuirass  and  laurel  wreath,  probably 
Caligula;  he  is  represented  full  face,  the  head  turned  a  little 
to  the  right.  Careful  work. 

Compare  the  portraits  of  Caligula  on  coins  (Bernoulli, 
Romische  Ikonographie,  II,  1,  pi.  xxxiv,  1  and  2)  and  the 


325 


GRAECO-ROMAN  PERIOD  163 

marble  heads  identified  as  Caligula  on  the  evidence  of 
the  coins  (Studniczka,  Archaologischer  Anzeiger,  1910, 
p.  532  f.,  and  F.  Poulsen,  Saertryk  af  Vor  Tid,  1.  Aarg. 
1914-15,  plate  facing  p.  84). 

1%  in.  x  1%  in.  (43.26  mm.  x  30.56  mm.);  Th.  %  in.  (14.68 
mm.).  Purchased,  1911.  Mentioned,  Museum  Bulletin,  1912, 
p.  98.  Largish  pieces  from  the  background  are  missing;  the 
nose  and  right  ear  are  chipped.  Acc.  No.  n.  195. 7. 

332  Yellowish  Glass  Ring,  with  large  bezel,  on 
which  is  stamped  the  head  of  Claudius  in  profile  to 
left.  Around  the  head  is  engraved  the  inscription  D1VO 
CLAVDIO  IMPERAT(ORI),  “To  the  divine  Emperor 
Claudius.”  Rough  execution. 

D.  of  hoop,  i2%  in.  (34.53  mm.);  L.  of  bezel,  1%  in.  (30.96 
mm.).  Bequest  of  Edward  C.  Moore,  1891.  Unpublished. 
The  surface  is  chipped  in  places  and  shows  considerable  irides¬ 
cence.  Acc.  No.  9 1 . 1 . 1 5 1 4. 


333  Opaque  Yellowish  on  Transparent  Blue 
Glass.  Male  portrait-bust  wearing  the  toga  pulled  up 
over  the  head.  Cursory  work.  [Not  illustrated.] 

in.  x  1%  in.  (42.86  mm.  x  37.7  mm.);  Th.  %  in.  (10.71 
mm.).  Greau  Collection,  No.  1768.  Described  by  Froehner, 
Gr&iu  Collection,  No.  1768,  and  there  identified  with  Claudius, 
obviously  on  insufficient  grounds.  The  surface  of  the  glass 
shows  considerable  iridescence.  Acc.  No.  17.194.269. 


334  Blue  on  Brown  Glass,  both  transparent.  Three 
male  heads,  side  by  side,  in  profile  to  right.  Careful  and 
effective  work.  The  slight  differences  of  level  in  the  heads 
are  skilfully  managed,  and  against  the  light  the  combina¬ 
tion  of  the  blue  and  brown  coloring  is  very  effective. 

W.  ys  in.  (22.22  mm.);  H.  %  in.  (20.24  mm.);  Th.  %  in.  (6.75 
mm.).  Greau  Collection,  No.  492.  Published  by  Froehner, 
Gr£au  Collection,  pi.  liv,  9-10.  Acc.  No.  17.194.268. 


164  CATALOGUE  OF  ENGRAVED  GEMS 

335  Transparent  Blue  Glass.  Portrait-bust  of  a 
beardless  man  wearing  a  cuirass,  in  full  front,  with  a 
smaller  head  on  either  side;  evidently  a  family  group  of  a 
father  and  his  two  children.  Cursory  workmanship. 

144  in.  x  1%  in-  (37-7  mm-  x  39-29  mm.);  Th.  %  in.  (8.73 
mm.).  Grdau  Collection,  No.  499.  Published  by  Froehner, 
Greau  Collection,  pi.  liv,  19.  Chipped  along  the  upper  edge. 
The  surface  is  iridescent  in  places.  Acc.  No.,  17. 194. 18. 

336  Turquoise  Blue  Glass,  opaque.  Female  head, 
in  profile  to  left.  Cast  from  a  good  engraving. 

%  in.  x  %  in.  (13.49  mm.  x  10.32  mm.);  Th.  %  in.  (4.36  mm.). 
Greau  Collection,  No.  300.  Published  by  Froehner,  Greau 
Collection,  pi.  xxxv,  33.  Acc.  No.  17.194.14. 

scenes  from  daily  life 

337  Opaque  White  on  Opaque  Black  Glass. 
Wounded  warrior  supported  by  his  companion.  Fair 
workmanship. 

ys  in.  x  :T6in.  (15-87  mm.  x  14.29  mm.);  Th.  74  in.  (2.78  mm.). 
Greau  Collection,  No.  544.  Published  by  Froehner,  Greau 
Collection,  pi.  lvi,  13.  The  surface  is  considerably  worn.  Acc. 
No.  1 7.194. 1 5. 

338  Fragment  of  a  Large  Onyx  Cameo,  opaque 
white  on  opaque  gray,  showing  three  figures  in  a  chariot — 
a  bearded  man,  a  draped  woman,  and  the  right  forearm 
with  part  of  the  body  of  a  third  figure.  The  fragmentary 
state  and  the  absence  of  attributes  make  it  impossible  to 
identify  the  figures.  Fine,  careful  work,  but  in  the  hard 
Roman  style.  [Illustrated  on  pi.  75.] 

Dimensions  of  fragment:  W.  3^  in.  (79.37  mm.);  H.  3  in- 
(80.17  mm.).  Purchased,  1906.  Described,  Museum  Bulletin, 
1907,  p.  125,  No.  14.  Acc.  No.  06.1203. 

339  Opaque  White  on  Opaque  Blue  Glass.  Group 
of  two  youths  and  two  women;  one  of  the  youths  is  seated 


Plate  73 


H-2 


GRAECO-ROMAN  PERIOD  165 

and  caressing  a  dog;  the  other  is  leaning  on  a  staff.  The 
women  stand  facing  each  other,  talking  eagerly  together; 
they  appear  to  be  inside  a  house,  as  indicated  by  a  col¬ 
umn,  while  the  youths  are  out  of  doors,  under  a  tree. 
Careful  work  but  rather  stilted  composition. 

iys  in.  x  1%  in.  (34.  92  mm.  x  42.86  mm.);  Th.  %,  in.  (7.14 
mm.).  Greau  Collection,  No.  552.  Published  by  Froehner, 
Greau  Collection,  pi.  lvi,  23.  Chipped  in  places;  the  surface  is 
somewhat  worn.  Acc.  No.  17. 194. 16. 

340  Gold  Ring,  with  hoop  rounded  without,  flat 
within,  and  with  high,  oval  bezel.  In  the  bezel  is  set  a 
cameo  of  opaque  white  and  blue  glass  with  a  representa¬ 
tion  of  a  nude  figure  holding  a  mantle  in  both  hands. 
Careful  work.  [Illustrated  on  pi.  73.] 

For  the  type  of  ring  compare  Marshall,  Cat.  of  the 
Finger  Rings  in  the  Brit.  Mus.,  p.  xlii,  No.  C,  xxiv. 

(As  set)  %  in.  x  %  in.  (14.68  mm.  x  8.33  mm.).  From  Cy¬ 
prus.  Cesnola  Collection.  Cf.  Myres,  Handbook,  No.  4244. 
Illustrated,  Cesnola  Atlas,  III,  pi.  xxix,  6  (the  ring  is  there  de¬ 
scribed  wrongly  as  of  bronze).  The  cameo  is  cracked  in  places 
and  the  surface  is  somewhat  worn.  Acc.  No.  C.  E.  63. 

ANIMALS 

341  Opaque  White  on  Transparent  Yellow  Glass. 

Lion  walking  to  right.  Cursory  work. 

Compare  Babelon,  Cat.  des  Camees  de  la  Bib.  Nat., 
Nos.  188,  189. 

%  in.  x<%  in.  (10.32  mm.  x  13. 1  mm.);  Th.  %  in.  (2.78  mm.). 
Greau  Collection,  No.  538.  Published  by  Froehner,  Greau 
Collection,  pi.  lvi,  5.  Chipped  around  the  edge;  the  representa¬ 
tion  is  considerably  worn.  Acc.  No.  17. 194. 17. 

342  Opaque  White  on  Transparent  Purple  Glass. 
Dog  lying  down,  represented  as  seen  from  above.  Care¬ 
ful  work. 


l66  CATALOGUE  OF  ENGRAVED  GEMS 

in.  x5%  in.  (17.06  mm.  x  22.62  mm.);  Th.  %  in.  (5.16  mm.). 
Greau  Collection,  No.  535.  Published  by  Froehner,  Greau 
Collection,  pi.  lvi,  2.  Chipped  along  the  edge;  the  surface  is 
somewhat  corroded  and  iridescent  in  places.  Acc.  No.  17. 194. 19. 

343  Chalcedony  Statuette  of  a  flying  Nike.  The 
head,  arms,  and  wings  were  made  in  separate  pieces,  prob¬ 
ably  in  another  stone,  and  are  missing.  This  is  an  un¬ 
usually  fine  example  of  cutting  in  the  round  in  hard  stone, 
dating  from  Hellenistic  or  Graeco-Roman  times.  The 
artist  has  managed  his  material  so  skilfully  that  when  held 
against  the  light  the  figure  itself  is  silhouetted  while  the 
flying  drapery  is  translucent.  The  whole  is  worked  with 
spirit  and  delicacy,  though  not  with  great  finish  in  de¬ 
tails. 

This  type  of  flying  Nike  originated  in  Hellenistic  times 
and  was  later  borrowed  again  and  again  by  the  warlike 
Romans  for  their  numerous  victory  celebrations  (cf.  H. 
Bulle  in  Roscher’s  Lexikon,  under  Nike,  cols.  349  ff.  and 
353  ff.).  The  famous  statue  of  Victory  in  the  Curia 
Julia,  dedicated  by  Augustus  after  the  battle  of  Actium, 
was  of  this  general  type.  Like  it,  our  statuette  probably 
held  a  wreath  in  the  extended  right  hand  and  perhaps  a 
palm  branch  or  trophy  in  the  left. 

H.  2S%  in.  (72.63  mm.).  Purchased,  1906.  Published  by  E. 
R(obinson),  Museum  Bulletin,  1907,  p.  124,  No.  12,  fig.  4,  and 
illustrated,  Reinach,  Repertoire  de  la  statuaire  grecque  et  ro- 
maine,  IV  (1910),  p.  241,  No.  3.  The  little  bronze  dowel  by 
which  the  right  wing  was  attached  is  still  in  place.  The  drapery 
is  chipped  in  places  and  one  foot  is  missing.  Acc.  No.  06.1 161. 
(In  Gallery  1 1 :  C  32.) 


Plate  74 


LATER  IMPERIAL  PERIOD 

SECOND-FIFTH  CENTURY  A.  D. 

By  the  second  century  A.  D.  glyptic  art  was  on  the  de¬ 
cline.  Of  the  large  number  of  gems  of  that  period  which 
have  survived,  only  very  few  have  any  artistic  value. 
The  great  majority  show  hasty,  careless  workmanship 
with  abundant  use  of  the  sharp  chisel  and  no  attempt  at 
natural  rounded  forms.  The  representations  are  lifeless 
and  monotonous.  The  artistic  decadence  is  much  more 
marked  in  engraved  gems  than  it  is  in  other  branches  of 
Roman  art.  Compared,  for  instance,  with  contemporary 
coins  the  gems  show  great  inferiority.  This  is  probably 
to  be  explained  by  the  fact  that  the  gems  had  ceased  to 
be  objects  of  fashionable  interest  and  therefore  no  longer 
attracted  good  workmen.  They  were  now  merely  seals 
and  especially  amulets,  for  the  belief  in  the  magic  proper¬ 
ties  of  certain  stones  and  of  certain  symbols  had  by  that 
time  become  quite  general. 

It  is  naturally  difficult  when  we  deal  with  objects  of 
such  careless  execution  to  distinguish  periods  and  styles. 
We  can  only  say  in  general  that  the  gems  of  the  second 
century  A.  D.  still  keep  the  traditions  of  the  former  period. 
In  the  third  century  the  artistic  level  descends  still  lower, 
until  in  the  Constantine  era  there  is  a  certain  revival. 
It  is  noteworthy  that  the  majority  of  the  stones  of  this 
period  have  been  found  in  Asia  Minor. 

167 


1 68  CATALOGUE  OF  ENGRAVED  GEMS 

The  shape  of  the  gems  is  always  that  of  the  ringstone; 
the  side  having  the  representation  is  either  flat  or  convex. 
The  majority  of  the  stones  are  small.  The  materials  are 
very  much  the  same  as  those  in  use  during  the  preceding 
period.  Nicolo  and  red  jasper  now  became  especially 
common,  probably  on  account  of  supposed  magical  prop¬ 
erties;  yellow  jasper  and  heliotrope  were  used  for  the  first 
time;  lapis  lazuli  is  also  found.  A  noteworthy  fact  is 
the  scarcity  of  glass  gems,  which  clearly  shows  the  waning 
interest  in  the  representation  itself.  Formerly  those  who 
could  not  afford  to  have  engraved  stones  were  content 
to  have  the  cheap  substitute  of  glass,  but  the  representa¬ 
tion  itself  had  to  be  as  good  as  on  the  stones;  now  the  stone 
itself  or  the  symbol  on  it  gave  the  gem  its  value  and  the 
quality  of  the  work  was  disregarded.  It  is  for  this  same 
reason  that  we  find  in  this  period  an  increasing  use  of 
plain  stones  without  any  engraving.  Where  the  rings 
in  which  the  stones  were  set  are  preserved  they  are  gener¬ 
ally  of  thin,  flimsy  gold,  or  made  hollow  and  filled  with 
sulphur. 

The  subjects  represented  show  little  variety.  Figures 
of  deities  are  common,  especially  Fortuna,  Nemesis,  and 
Nike;  but  other  legendary  figures,  or  scenes  from  daily  life 
are  rare.  All  sorts  of  symbols,  on  the  other  hand,  such  as 
masks  and  grylloi,  naturally  enjoy  great  popularity  on 
account  of  their  magical  significance. 

The  best  work  of  the  period  is  done  in  portraits;  for 
here  the  quality  of  the  execution  was  still  appreciated. 

Cameos  are  not  common  and  show  the  same  artistic 
inferiority  as  do  the  engraved  stones.  A  separate  class  is 
formed  by  the  series  of  small  cameos  worn  in  rings  and 
decorated  only  with  inscriptions  containing  either  good 
wishes  or  general  reflections. 

The  stones  carved  in  the  round,  which  are  especially 


Plate  75 


403 


LATER  IMPERIAL  PERIOD  1 69 

characteristic  of  the  later  Imperial  times,  have  already 
been  referred  to  (p.  92).  It  should  be  added  that  rings 
entirely  cut  out  of  precious  stones  and  decorated  plastically 
also  occur. 

I.  Intaglios 

DEITIES— ZEUS  AND  RELATED  TYPES 

344  Sardonyx  Ringstone.  Zeus,  standing  on  a  globe 
and  wearing  a  himation,  has  the  sceptre  in  one  hand  and 
in  the  other  supports  a  child  who  holds  a  cornucopia.  By 
his  side,  but 'much  smaller,  is  a  Fortuna  or  Tyche  of  a  city, 
holding  a  wreath  and  a  cornucopia,  with  a  river  god  at 
her  feet.  Rather  more  careful  work  than  the  average. 

For  this  conception  of  a  Fortune  of  a  city  cf.  the  famous 
statue  of  Antiocheia  with  the  river  Orontes,  said  to  have 
been  made  by  Eutychides  (cf.  Helbig,  Fuhrer,  I,  No.  362, 
1913  edition). 

94  in.  x%  in.  (17.86  mm.  x  1 1.91  mm.);  Th.  %  in.  (5- 16  mm.). 
King  Collection,  No.  69.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  copperplates,  first  group,  v,  57.  Convex  on  the  en¬ 
graved  side.  A  piece  from  one  side  is  missing.  Acc.  No.  81.6. 
167. 

345  Carnelian  Ringstone.  Zeus  seated  to  left,  hold¬ 
ing  the  sceptre  and  ears  of  wheat,  and  Fortuna  standing 
facing  him  with  her  rudder  and  cornucopia.  In  the  field 
is  the  inscription  ATTOAOAGOPOY,  “of  Apollodoros,  the 
name  of  the  owner  of  the  seal. 

For  a  similar  representation  of  Zeus  and  Fortuna,  cf. 
Furtwangler,  Berl.  Kat.,  No.  2544. 

%  in.  \  in.  (1349  mm.  x  17.86  mm.);  Th.  %  in.  (5.95  mm.). 
King  Collection,  No.  68.  Unpublished.  Convex  on  the  en¬ 
graved  side.  Acc.  No.  8 1 .6. 1 68. 

346  Carnelian  Ringstone.  Serapis-Hades  seated  to 
left  with  Isis  standing  before  him.  Serapis-Hades  holds 


170  CATALOGUE  OF  ENGRAVED  GEMS 

the  sceptre  and  by  his  side  is  the  three-headed  dog  Ker¬ 
beros;  Isis  has  an  ear  of  wheat  and  the  sistrum.  In  the 
field  the  inscription  H  KYPIA  CICIC  ATNH,  “Immacu¬ 
late  our  Lady  Isis.” 

Serapis  and  Isis,  the  two  most  popular  Egyptian  deities 
in  Italy,  were  often  combined  in  Roman  art.  For  the 
combination  by  the  Romans  of  the  Greek  Hades  and  the 
Egyptian  Serapis,  both  gods  of  the  underworld,  cf.  under 
No.  130. 

%  in.  x  %  in.  ( 1 1 .  n  mm.  x  1 5 .08  mm.) ;  Th.  %  in.  (4.76  mm.). 
King  Collection,  No.  81.  Unpublished.  Convex  on  both  sides. 
Ac c.  No.  81.6.169. 

347  Red  Jasper  Ringstone.  Serapis,  partly  draped, 
standing  to  left.  He  wears  his  characteristic  crown  in 
the  shape  of  a  kalathos,  and  holds  a  wreath  in  his  hand. 
In  the  field  are  a  star  and  a  crescent. 

%  in.  x  %  in.  (1 1.91  mm.  x  7.54  mm.);  Th.  %  in.  (2.78  mm.). 
King  Collection,  No.  83.  Unpublished.  A  piece  from  one  side 
is  missing.  Acc.  No.  8 1 .6. 1 70. 

348  Red  Jasper  Ringstone.  A  bust  of  Serapis  wear¬ 
ing  his  crown,  with  an  eagle  below;  in  the  field  a  star  and  a 
crescent. 

For  a  similar  representation  cf.  Furtwangler,  Berl.  Kat., 
No.  2623. 

%  in.  x  y2  in.  (17.86  mm.  x  12.7  mm.);  Th.  in.  (3.97  mm.). 
King  Collection,  No.  80.  Unpublished.  Convex  on  both  sides. 
Acc.  No.  81.6.171. 


HERA  AND  OTHER  DEITIES 

349  Carnelian  Ringstone.  Hermes,  Hera,  and 
Athena,  with  their  attributes:  Hermes  has  the  kerykeion 
or  herald’s  staff,  and  the  purse,  the  attribute  given  him  by 


Plate  76 


LATER  IMPERIAL  PERIOD  1 7 1 

the  Romans  as  god  of  commerce;  Hera  holds  the  sceptre 
and  a  patera;  while  Athena  has  her  shield,  and  a  palm 
branch  instead  of  the  usual  spear.  A  good  example  of 
the  commonplace  compositions  prevalent  in  this  period. 

2%  in.  x  Vi  in.  (9.92  mm.  x  12.7  mm.);  Th.  %  in.  (2.78  mm.). 
King  Collection,  No.  71.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  xli,  5;  Ant.  Gems  and  Rings,  II,  woodcuts,  pi. 
xi,  6.  Slightly  convex  on  both  sides.  The  stone  has  been 
broken  in  two  and  repaired.  Acc.  No.  81.6.174. 


APOLLO  (?) 

350  Sard  set  in  a  gold  ring  with  thin  hoop  and  raised 
bezel.  On  the  stone  is  engraved  a  nude  male  figure 
(Apollo?)  leaning  against  a  column  and  holding  what  may 
be  a  laurel  branch  and  a  bow  in  his  right  hand;  on  his  back 
is  slung  his  quiver  or  lyre  (?).  The  whole  is  so  roughly 
done  that  it  is  difficult  to  identify  the  attributes. 

(As  set)  2%  in.  x2^4in.  (11.51  mm.  X8.33  mm.).  From  Cyprus. 
Cesnola  Collection.  Cf.  Myres,  Handbook,  No.  4243.  The 
stone  is  very  slightly  convex  on  the  engraved  side.  The  gold  of 
the  setting  is  chipped  around  the  edge.  Acc.  No.  C.  E.  64. 

HELIOS 

351  Yellowish  Chalcedony  Ringstone.  Helios  in 
a  four-horse  chariot  in  front  view.  The  difficulties  of 
perspective  are  evaded  by  making  two  horses  drive  to  the 
right  and  two  to  the  left — a  convenient  device  practised 
also  by  the  sixth-century  Athenian  vase-painters  (cf., 
e.  g.,  our  vase  No.  G.R.  540). 

For  a  similar  representation  of  Helios  on  a  gem,  cf. 
Furtwangler,  Berl.  Kat.,  No.  2666,  where  the  perspective 
is,  however,  more  successfully  dealt  with. 

%  in.  x  %  in.  (1 1.91  mm.  x  !  5.08  mm.);  Th.  %  in.  (3.17  mm.). 
King  Collection,  No.  123.  Unpublished.  Convex  on  the  en¬ 
graved  side.  Acc.  No.  81.6. 173. 


172  CATALOGUE  OF  ENGRAVED  GEMS 


ARTEMIS 

352  Carnelian  Ringstone.  The  image  of  the  Ephe¬ 
sian  Artemis,  with  supports  for  the  arms,  and  a  deer  on 
each  side;  in  the  field  above  are  two  small  busts. 

For  similar  representations  on  gems  cf.  Furtwangler, 
A.  G.,  pi.  xliv,  2,  and  Berl.  Kat.,  Nos.  7214,  8418.  The 
image  is  probably  a  copy  of  the  famous  statue  of  the  great 
Oriental  Artemis  of  Ephesos,  which  occurs  also  on  coins 
(cf.  P.  Gardner,  The  Types  of  Greek  Coins,  pi.  xv,  4)  and 
in  sculpture  (cf.  Schreiber  in  Roscher’s  Fexikon,  under 
Artemis,  cols.  588  ff.). 

%  in.  x  2%  in.  (12.3  mm.  x  9.92  mm.);  Th.  %4  in.  (3.57  mm.). 
King  Collection,  No.  143.  Unpublished.  Convex  on  both  sides. 
Acc.  No.  81.6.175. 


ATHENA 

353  Carnelian  Ringstone.  Athena  seated,  resting 
one  arm  on  a  pillar,  and  holding  in  a  platter  a  large 
bearded  head  with  goat’s  horns,  and  a  palm  branch;  she 
wears  a  helmet  and  by  her  side  are  a  shield,  a  cuirass,  and 
a  round  altar. 

For  other  representations  of  Athena  holding  a  human 
head  cf.  Furtwangler,  Berl.  Kat.,  Nos.  6713  (where  the 
head  may  be  that  of  Medusa)  and  8397. 

%  in.  x  %  in.  (12.3  mm.  x  10.71  mm.);  Th.  %  in.  (2.78  mm.). 
King  Collection,  No.  129.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  xvii  A,  4.  Slightly  convex  on  both 
sides.  Slightly  chipped  in  places.  Acc.  No.  8 1 .6. 1 77. 


354  Sardonyx  set  in  a  plain,  heavy  gold  ring.  On  the 
stone  is  engraved  Athena,  in  the  usual  standing  type, 
with  spear  and  shield. 

Compare  Furtwangler,  Berl.  Kat.,  Nos.  7235  ff. 


Plate  77 


LATER  IMPERIAL  PERIOD 


173 

(As  set)  %  in.  x%  in.  (11.51  mm.  x  8.73  mm.).  From  Cyprus. 
Cesnola  Collection.  Cf.  Myres,  Handbook,  No.  42 52  Acc 
No.  C.  E.  65. 

355  Carnelian  Ringstone.  Female  figure,  apparently 
Athena,  standing  to  left,  similar  to  the  preceding,  but  even 
more  roughly  worked.  [Not  illustrated.] 

%  in.  x  %  in.  (17.46  mm.  x  12.3  mm.);  Th.  %  in.  (3.57  mm.). 
From  Cyprus.  Cesnola  Collection.  Cf.  Myres,  Handbook, 
No.  4287.  Convex  on  the  engraved  side.  Acc.  No.  C.  E.  66. 

356  Carbuncle  set  in  a  gold  ring  with  rounded  hoop 
and  oval  bezel.  On  the  stone  is  engraved  the  advancing 
Athena,  holding  spear  and  shield. 

(As  set)  %  in.  x2^  in.  (13.49  mm.  x  9.92  mm.).  From  Cyprus. 
Cesnola  Collection.  Cf.  Myres,  Handbook,  No.  4247.  Illus¬ 
trated,  Cesnola  Atlas,  III,  pi.  xxviii,  1.  The  stone  is  convex  on 
the  engraved  side.  Acc.  No.  C.  E.  67. 

357  Sard  Ringstone.  Helmeted  head  in  profile  to 
right,  probably  Athena. 

%  in.  x  %  in.  (1 1.91  mm.  x  8.73  mm.);  Th.  y8  in.  (3.17  mm.). 
From  Cyprus.  Cesnola  Collection.  Cf.  Myres,  Handbook, 
No.  4290.  Illustrated,  Cesnola  Atlas,  III,  pi.  xxxii,  5.  Con¬ 
vex  on  the  engraved  side.  Acc.  No.  C.  E.  68. 

358  Red  Jasper  Ringstone.  Athena  and  Fortuna 
facing  each  other,  with  a  grazing  horse  and  a  pile  of  wheat- 
sheaves  (?)  between  them;  Fortuna  holds  the  cornucopia, 
and  Athena  wears  a  helmet  and  has  a  shield  and  a  spear. 

For  a  similar  representation  cf.  Furtwangler,  Berl.  Kat., 
No.  2560. 

%  in.  x  y8  in.  (12.3  mm.  x  15.87  mm.);  Th.  %  in.  (2.78  mm.). 
King  Collection,  No.  2 1 1 .  Unpublished.  Slightly  convex  on  the 
unengraved  side.  Slightly  chipped  at  the  back.  Acc.  No. 
81.6.178. 


174  CATALOGUE  OF  ENGRAVED  GEMS 


ROMA 

359  Red  Jasper  Ringstone.  Roma,  the  personifi¬ 
cation  of  the  city  of  Rome,  is  seated  to  the  left  on  a  cuirass, 
and  holds  a  little  figure  of  Nike  in  one  hand. 

The  goddess  Roma  borrowed  her  chief  characteristics 
from  the  Greek  Athena.  This  seated  type,  with  a  short 
chiton,  which  leaves  one  breast  bare,  and  holding  a  small 
Victoria,  is  common  on  Roman  coins  from  the  time  of 
Nero  to  Constantius  Chlorus  (cf.  Cohen,  Monnaies 
romaines,  i,  p.  297,  No.  273,  and  7,  p.  82,  No.  254;  and  F. 
Richter  in  Roscher’s  Lexikon,  under  Roma,  col.  152  f.). 
For  a  similar  representation  on  a  gem  cf.  Furtwangler, 
Berk  Kat.,  No.  8174. 

in.  x  %,  in.  (18.65  mm.  x  14.29  mm.);  Th.  y»  in.  (3.17  mm.) 
King  Collection,  No.  103.  Unpublished.  Slightly  convex  on 
both  sides.  Acc.  No.  81.6.176. 


ARES  (?) 

360  Sard  set  in  a  silver  ring.  On  the  stone  is  engraved 
Ares,  or  a  warrior,  fully  armed  with  cuirass,  helmet, 
spear,  and  shield. 

Compare  Furtwangler,  Berk  Kat.,  Nos.  7272-7273. 

(As  set)  %  in.  x  %  in.  (16.27  mm.  x  11.51  mm.).  From  Cy¬ 
prus.  Cesnola  Collection.  Cf.  Myres,  Handbook,  No.  4278. 
Illustrated,  Cesnola  Atlas,  III,  pi.  xxvii,  1 1.  The  stone  is  convex 
on  the  engraved  side.  The  hoop  of  the  ring  is  missing.  The 
silver  of  the  ring  has  oxidized.  Acc.  No.  C.  E.  69. 

APHRODITE  AND  EROS 

361  Heliotrope  Ringstone.  Venus  Victrix,  partly 
draped,  is  standing  in  an  easy  attitude,  leaning  against  a 
pillar;  she  has  a  kerykeion  and  a  sceptre;  by  her  side  is 
Eros  holding  up  her  helmet. 


Plate  78 


LATER  IMPERIAL  PERIOD  1 75 

For  this  type  of  victorious  Aphrodite  see  under  No.  145. 

%  in.  x  %  in.  (12.3  mm.  x  9.13  mm.);  Th.  in.  (2.38  mm.). 
King  Collection,  No.  168.  Unpublished.  Slightly  convex  on  the 
engraved  side.  Somewhat  chipped  in  places.  Acc.  No.  8 1 .6. 1 79. 

362  Red  Jasper  Ringstone.  Eros  riding  on  a  dol¬ 
phin,  and  playing  the  double  flutes;  another  Eros  hovers 
in  the  air  above  him,  holding  up  a  second  dolphin  by  the 
tail. 

%  in.  x  %  in.  (1 1.1 1  mm.  x  14.29  mm.) ;  Th.  %  in.  (2.38  mm.). 
King  Collection,  No.  179.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  xxv  B,  1 1 ;  illustrated,  King,  Precious 
Stones,  p.  433.  Very  slightly  convex  on  the  engraved  side.  A 
small  piece  from  the  top  is  missing.  Acc.  No.  81.6.180. 


363  Nicolo  set  in  a  bronze  ring  with  moulded  hoop, 
originally  gilt.  On  the  stone  is  roughly  engraved  an  Eros 
riding  a  dolphin. 

(As  set)  2%  in.  x  %  in.  (9.92  mm.  x  7.54  mm.).  From  Cyprus. 
Cesnola  Collection.  Cf.  Myres,  Handbook,  No.  4283.  Illus¬ 
trated,  Cesnola  Atlas,  III,  pi.  xxix,  3.  The  bronze  is  consider¬ 
ably  corroded,  with  some  parts  missing.  Acc.  No.  C.  E.  70. 


HERMES 

364  Carnelian  Ringstone.  Hermes,  partly  draped, 
is  seated  holding  the  kerykeion;  by  his  side  is  a  ram.  In 
the  field  the  inscription  €  fl  n TAXPYCOC. 

In  gems  of  the  Roman  period  Hermes  is  often  repre¬ 
sented  with  a  ram  or  goat  (cf.  Chr.  Scherer  in  Roscher’s 
Lexikon,  under  Hermes,  col.  2427),  showing  that  he  re¬ 
tained  throughout  his  significance  as  shepherd  god.  For 
other  examples  of  this  type  of  seated  Hermes  cf.  Scherer, 
Ioc.  cit. 

y2  in.  x  %  in.  (12.7  mm.  x  10.32  mm.);  Th.  %  in.  (4.36  mm.). 
King  Collection,  No.  147.  Published  by  King,  Ant.  Gems  and 


176  CATALOGUE  OF  ENGRAVED  GEMS 

Rings,  II,  woodcuts,  pi.  xxii,  4;  illustrated.  King,  Ant.  Gems, 
p.363.  Convex  on  both  sides.  Acc.  No.  81.6. 181. 

ASKLEPIOS 

365  Carnelian  Ringstone.  Asklepios  and  a  female 
figure  standing  facing  each  other,  with  a  tripod  and  a  male 
bust  between  them.  The  female  figure  is  in  the  char¬ 
acteristic  archaic  attitude,  holding  a  corner  of  her  drap¬ 
ery  in  one  hand  and  a  flower  in  the  other;  she  perhaps 
represents  a  worshiper.  In  the  field  is  the  inscription 
ON  ESI  ME. 

%  in.  x  %  in.  (10.32  mm.  x  13.49  mm.);  Th.  %,  in.  (2.38  mm.). 
King  Collection,  No.  127.  Said  to  be  from  Alexandria.  Pub¬ 
lished  by  King,  Hdbk.  of  Engraved  Gems,  pi.  xliii,  7.  Convex 
on  both  sides.  Slightly  chipped  at  the  back.  Acc.  No.  81.6.182. 

KYBELE 

366  Sard  Ringstone.  Kybele,  wearing  a  chiton, 
himation,  and  mural  crown,  is  seated  on  a  throne  in  front 
view,  and  holds  a  phiale  and  ears  of  wheat;  on  either  side 
is  a  lion  looking  up  at  the  goddess. 

Such  representations  of  the  great  Asiatic  goddess  Kybele 
are  extremely  popular  in  Hellenistic  and  Roman  times, 
and  appear  in  every  class  of  monuments  (cf.  Rapp  in 
Roscher’s  Lexikon,  under  Kybele,  col.  1645).  The  ears 
of  wheat  characterize  Kybele  as  the  goddess  of  fertility 
(cf.  for  this  attribute  Rapp,  op.  cit.,  col.  1647;  compare 
also  Furtwangler,  Berk  Kat.,  No.  8714). 

%  in.  x%  in.  (13.49  mm.  x  10.71  mm.);  Th.  y8  in.  (3. i^  mm.). 
King  Collection,  No.  73.  Published  by  Osborne,  Engraved 
Gems,  pi.  xxiii,  1.  Convex  on  the  engraved  side.  Slightly 
chipped  in  places.  Acc.  No.  81 .6. 183. 

367  Sard  Ringstone.  Kybele  riding  on  a  lion  to 
right.  In  the  field,  two  stars. 


LATER  IMPERIAL  PERIOD 


1 77 


The  motive  of  Kybele  riding  on  a  lion  appears  in  Hellen¬ 
istic  art,  e.  g„  on  the  Pergamene  altar,  and  also  not  infre¬ 
quently  on  Roman  monuments  (cf.  Rapp  in  Roscher’s 
Lexikon,  under  Kybele,  col.  1647).  For  a  similar  gem  cf. 
Furtwangler,  Berl.  Kat.,  No.  2382. 


%  in-  x  in.  (13.49  mm.  x  17.06  mm.);  Th.  %.  in.  (3.97  mm.). 
King  Collection,  No.  72.  Unpublished.  Slightly  convex  on 
both  sides.  Slightly  chipped  around  the  edge;  at  the  back  are 
some  white  stains  caused  by  fire.  Acc.  No.  81.6.184. 


ANTIOCHEIA 

368  Red  Jasper  Ringstone.  Antiocheia,  the  per¬ 
sonification  of  the  city  of  Antioch,  is  seated,  resting  one 
foot  on  the  river-god  Orontes;  on  either  side  are  figures 
of  Fortuna  and  of  a  warrior  holding  up  a  wreath,  as  if  to 
crown  Antiocheia. 

Compare  the  similar  group  on  a  gem  in  Berlin;  Furt¬ 
wangler,  Berl.  Kat.,  No.  2587. 

The  seated  figure  can  be  identified  as  the  Tyche  of 
Antioch  by  its  similarity  to  the  famous  group  in  the 
Vatican  (W.  Helbig,  Fiihrer,  I,  No.  362),  believed  to  be  a 
replica  of  a  bronze  statue  of  Antiocheia  by  Eutychides,  a 
pupil  of  Lysippos.  The  group  appears  on  Syrian  coins 
of  Tigranes,  and  must  have  enjoyed  considerable  fame, 
as  it  occurs  on  many  ancient  monuments;  cf.,  e.  g.,  our 
bronze  statuette,  Catalogue  No.  259,  and  references  there 
cited. 

%  m.  x  in.  (14.68  mm.  x  10.71  mm.);  Th.  %in.  (3.57  mm.). 
King  Collection,  No.  227.  Published  by  King,  Ant.  Gems  and 
Kings,  11,  copperplates,  second  group,  iv,  18;  Osborne,  Engraved 
Gems,  pi.  xxv,  21;  illustrated,  King,  Ant.  Gems,  pi.  iv,  18.  Con¬ 
vex  on  both  sides.  Acc.  No.  8 1.6. 186. 

369  Red  Jasper  Ringstone.  Group  similar  to  the 
preceding,  with  variations  in  details. 


178  CATALOGUE  OF  ENGRAVED  GEMS 

%  in.  x  %  in.  (15.87  mm.  x  13. 1  mm.);  Th.  %  in.  (3.57  mm.). 
King  Collection,  No.  228.  Unpublished.  Very  slightly  convex 
on  both  sides.  Considerably  chipped  around  the  edge.  Acc. 
No.  81.6.185. 

FORTUNA 

370  Red  Jasper  Ringstone.  Fortuna  standing  to 
right  holding  a  cornucopia  and  rudder;  on  her  head  she 
wears  a  modius  (measure). 

Fortuna,  the  goddess  of  Fortune,  evidently  enjoyed 
great  popularity  in  the  Roman  Imperial  epoch,  for  she 
occurs  on  a  large  number  of  monuments — marble  statues, 
bronzes,  coins,  gems,  wall  paintings,  etc.  (cf.  R.  Peter  in 
Roscher’s  Lexikon,  under  Fortuna,  cols.  1503  ff.;  also 
Furtwangler,  A.  G.,  pi.  xliv,  72  and  73).  The  cornucopia 
and  rudder  are  her  favorite  attributes — one  as  the  giver  of 
good  gifts,  the  other  as  the  steerer  of  fate.  They  are 
mentioned  as  such  by  writers  of  the  period  and  occur  in 
inscribed  representations  on  coins;  so  that  the  identifica¬ 
tion  of  the  type  with  Fortuna  is  certain. 

%  in.  x  %  in.  (13.89  mm.  x  9.52  mm.);  Th.  %  in.  (2.38  mm.). 
King  Collection,  No.  212.  Unpublished.  Very  slightly  convex 
on  both  sides.  Broken  in  two  pieces  and  repaired.  Ac c.  No. 
8  r. 6. 1 88. 

371  Garnet  set  in  a  gold  ring  with  oval  bezel.  On  the 
stone  is  engraved  Fortuna,  similar  to  the  preceding,  but 
without  the  modius.  The  execution  is  very  rough.  [Not 
illustrated.] 

(As  set)  %  in.  x  %  in.  (14.29  mm.  x  10.71  mm.).  From  Cy¬ 
prus.  Cesnola  Collection.  Cf.  Myres,  Handbook,  No.  4248. 
The  stone  is  convex  on  the  engraved  side.  Acc.  No.  C.  E.  71. 

372  Garnet  set  in  a  hollow  gold  ring,  filled  with  sul¬ 
phur.  On  the  stone  is  engraved  Fortuna,  similar  to  the 
preceding,  very  roughly  worked.  [Not  illustrated.] 


LATER  IMPERIAL  PERIOD  1 79 

(Asset)  Vi  in.  x  %  in.  (12.7  mm.  x  1 1. 5 1  mm.).  From  Cyprus. 
Cesnola  Collection.  Cf.  Myres,  Handbook,  No.  4251.  Illus¬ 
trated,  Cesnola  Atlas,  III,  pi.  xxviii,  4.  The  stone  is  convex  on 
the  engraved  side.  The  gold  ring  has  a  number  of  holes  and 
scratches.  Acc.  No.  C.  E.  72. 

373  Carn elian  set  in  a  gold  ring  with  high  bezel.  On 
the  stone  is  engraved  Fortuna,  similar  to  the  preceding, 
but  standing  to  left. 

(As  set)  %  in.  x  in.  (13.49  rnm.  x  1 1.1 1  mm.).  From  Cy¬ 
prus.  Cesnola  Collection.  Cf.  Myres,  Handbook,  No.  4242. 
Illustrated,  Cesnola  Atlas,  1 1 1,  pi. xxviii,  12.  The  stone  is  slightly 
convex  on  the  engraved  side.  The  ring  is  broken  and  bent. 
Acc.  No.  C.  E.  73. 

374  Sard  Ringstone.  Fortuna,  similar  to  the  pre¬ 
ceding,  standing  to  left.  [Not  illustrated.] 

%  in.  x  %  in.  (10.32  mm.  x  8.73  mm.);  Th.  %  in.  (3.57  mm.). 
From  Cyprus.  Cesnola  Collection.  Cf.  Myres,  Handbook, 
No.  4288.  Illustrated,  Cesnola  Atlas,  III,  pi.  xxxi,  6.  Convex 
on  the  unengraved  side;  slightly  convex  on  the  engraved  side. 
Acc.  No.  C.  E.  74. 

375  Garnet  (Pyrope)  set  in  a  gold  ring.  Female 
figure  (Fortuna?)  standing  to  right,  similar  to  Nos.  371 
and  372,  very  roughly  engraved.  The  attributes  are  not 
clearly  enough  marked  to  show  that  this  is  Fortuna.  [Not 
illustrated.] 

(As  set)  % e  in.  x  %  in.  (11.11  mm.  x  9. 13  mm.).  King  Col¬ 
lection,  No.  231.  Unpublished.  The  stone  is  convex  on  the 
engraved  side.  Stated  to  be  from  the  collection  of  General  di 
Cesnola  sold  in  London  in  1871,  and  therefore  presumably 
from  Cyprus.  Acc.  No.  81.6.203. 


NEMESIS 

376  Carnelian  Ringstone.  Two  Nemeseis,  or  god¬ 
desses  of  Fate,  facing  each  other.  Each  lifts  a  corner  of 


l8o  CATALOGUE  OF  ENGRAVED  GEMS 

her  drapery  at  the  shoulder,  in  the  characteristic  attitude; 
one  holds  a  measuring-stick,  the  other  the  sistrum  of  Isis. 
In  the  field  the  inscription  AI0NYC10Y,  in  the  exergue 
£MYP,  showing  that  one  Dionysios  of  Smyrna  was  the 
owner  of  the  seal. 

Similar  groups  of  two  Nemeseis  occur  on  Roman  coins 
of  Smyrna,  and  evidently  reproduce  the  famous  cult  stat¬ 
ues  of  Nemesis  of  that  city  (cf.  B.  V.  Head,  Cat.  of  the 
Grk.  Coins  in  the  Brit.  Mus.,  Ionia,  pi.  xxix,  14,  and  O. 
Rossbach  in  Roscher’s  Lexikon,  under  Nemesis,  col.  144). 
The  substitution  on  our  gem  of  the  sistrum  for  a  regular 
Nemesis  attribute  shows  that  the  artist  here  conceived  of 
the  figure  as  Isis-Nemesis  (cf.  Rossbach,  op.  cit.,  col. 
140). 

For  representations  of  Nemesis  in  general  cf.  under  No. 
186. 

%  in.  x  ^  in.  (17.46  mm.  x  13. 1  mm.);  Th.  %  in.  (5.16  mm.). 
King  Collection,  No.  213.  Unpublished.  Convex  on  both 
sides.  Acc.  No.  81.6.189. 

377  Carnelian  set  in  a  gold  ring  with  raised  bezel. 

On  the  stone  is  engraved  a  winged  Nemesis  standing  to 

right;  with  one  hand  she  lifts  the  corner  of  her  drapery 

at  the  shoulder,  in  the  other  she  holds  a  branch.  At  the 

back  of  the  bezel  are  engraved  the  letters  ^ 

b  TA 

Compare  No.  186. 

(As  set)  4J4  in.  x  %  in.  (16.27  mm.  x  i3-i  mm.).  From  Cy¬ 
prus.  Cesnola  Handbook.  Cf.  Myres,  Handbook,  No.  4234. 
Illustrated,  Cesnola  Atlas,  III,  pi.  xxix,  12,  and  Cyprus,  p.  392. 
The  stone  is  slightly  convex  on  the  engraved  side.  Acc.  No. 

C.  E.  75. 

378  Garnet  set  in  a  gold  ring  with  oval  bezel.  On  the 
stone  is  engraved  a  winged  Nemesis  similar  to  the  pre- 


Plate  8o 


LATER  IMPERIAL  PERIOD  l8l 


ceding,  but  standing  to  left,  and  of  rougher  execution. 
The  attribute  she  holds  in  her  hand  is  either  a  branch  or  a 
rule.  [Not  illustrated.] 


(As  set)  %  in.  x%  in .  (14.68  mm.  x  12.3  mm.).  From  Cyprus. 
Cesnola  Collection.  Cf.  Myres,  Handbook,  No.  4246  Illus¬ 
trated,  Cesnola Atlas  1 1 1,  pi.  xxviii,  3.  The  stone  ts  convex  on 
the  engraved  side.  Acc.  No.  C.  E.  76. 


NIKE 

379  Carnelian  Ringstone.  Nike  holding  a  wreath 
and  a  palm  branch. 

The  attitude  is  the  same  as  that  of  the  figures  on  Roman 
coins  of  the  time  of  Augustus  and  later,  probably  to  be 
identified  with  the  famous  statue  of  Nike  in  the  Curia 
Julia  (cf.  H.  Bulle  in  Roscher’s  Lexikon,  under  Nike,  col. 
354  T).  The  subject  is  very  common  on  Roman  gems. 

Compare  No.  190  in  our  collection,  and  Furtwangler 
Berl.  Kat.,  Nos.  6734  ff„  727 6  ff„  8177  f. 

%  in.  x  %  in.  (15.48  mm.  x  10.32  mm.);  Th. 

%  m.  (3.97  mm.).  From  Cyprus.  Cesnola  Col- 
lection.  Cf.  Myres,  Handbook,  No.  4286.  Illus¬ 
trated,  Cesnola  Atlas,  III,  pi.  xxxi,  9.  Convex  on 
both  sides.  Considerably  chipped  around  the  38<> 
edge.  Acc.  No.  C.  E.  77. 

380  Sard  set  in  a  bronze  ring  with  rounded  hoop  ex¬ 
panding  upwards.  On  the  stone  is  engraved  a  Nike  sim¬ 
ilar  to  the  preceding.  [Not  illustrated.] 

(As  set)  in.  x  %  in.  (11.11  mm.  x  8.33  mm.).  From  Cyprus. 
Cesnola  Collection.  Cf.  Myres,  Handbook,  No.  4281.  Illus¬ 
trated,  Cesnola  Atlas,  III,  pi.  xxix,  10.  Slightly  chipped  around 
the  edge.  Acc.  No.  C.  E.  84. 

381  Sardonyx  Ringstone,  cone-shaped  with  flat¬ 
tened  top,  on  which  is  roughly  engraved  a  figure  of  Nike. 
[Not  illustrated.] 


1 82  CATALOGUE  OF  ENGRAVED  GEMS 

Ys  in.  x  %  in.  (15.87  mm.  x  13.49  mm.);  Th.  M  in.  (6.35  mm.). 
King  Collection,  No.  161.  Unpublished.  Acc.  No.  81.6.191. 

382  Sard  Ringstone.  A  warrior  (Ares?)  between 
two  Nikai,  one  offering  him  a  wreath,  the  other  a  crown; 
beside  the  warrior  is  a  stag. 

Nike  about  to  place  a  wreath  on  some  deity  occurs  on 
a  number  of  late  Roman  gems;  cf.  Furtwangler,  Berl.  Kat., 
No.  7164  (Mars),  7170  (Roma),  7171  (Hermes),  7155 
(Zeus). 

%  in.  x  %  in.  (10.71  mm.  x  14.68  mm.);  Th.  %  in.  (3.97  mm.). 
King  Collection,  No.  274.  Published  by  King,  Arch.  Jour., 
Vol.  XXX  (1873),  pp.  226  ff.  Convex  on  the  engraved  side. 
Acc.  No.  81.6.190. 


NEREID 

383  Sard  Ringstone.  A  Nereid  riding  on  the  back 
of  a  Triton. 

For  similar  representations  cf.  Furtwangler,  Berl.  Kat., 
Nos.  6760,  7364-7367. 

Vk  in.  x%  in.  (1 1.1 1  mm.  x  14.68  mm.);  Th.  %  in.  (4.36  mm.). 
King  Collection,  No.  88.  Unpublished.  Convex  on  the  en¬ 
graved  side.  Slightly  chipped  in  places;  there  is  a  deep  hole  in 
the  body  of  the  Triton.  Acc.  No.  81.6.192. 

CENTAUR 

384  Chalcedony  set  in  a  bronze  ring  with  slightly 
projecting  shoulders.  On  the  stone  is  engraved  a  Cen¬ 
taur,  to  right,  carrying  a  branch. 

Compare  a  similar  Centaur  carrying  a  trophy  in  Furt¬ 
wangler,  Berl.  Kat.,  No.  7586. 

(As  set)  %  in.  x  %  in.  (15.48  mm.  x  13.89  mm.).  From  Cy¬ 
prus.  Cesnola  Collection.  Cf.  Myres,  Handbook,  No.  4280. 
Illustrated,  Cesnola  Atlas,  111,  pi.  xxix,  7.  The  stone  is  slightly 
convex  on  the  engraved  side.  The  bronze  ring  is  somewhat 
chipped  around  the  bezel.  Acc.  No.  C.  E.  85. 


LATER  IMPERIAL  PERIOD 


!83 


SATYR 

385  Sard  Ringstone.  Young  Satyr  kneeling  and 
pouring  from  a  vase;  by  his  side  is  his  crook. 

Vs  in.  x  2%  in.  (9.52  mm.  x  9.92  mm.);  Th.  %.  in.  (2.38  mm.). 
From  Cyprus.  Cesnola  Collection.  Cf.  Myres,  Handbook, 
No.  4289.  Illustrated,  Cesnola  Atlas,  III,  pi.  xxxi,  10,  and  Cy¬ 
prus,  pi.  xxxix,  8.  Slightly  convex  on  both  sides.  Acc.  No. 
C.  E.  78. 


HEROES — HERAKLES 

386  Red  Jasper  Ringstone.  Herakles  strangling 
the  Nemean  lion;  by  his  side  is  his  club.  On  the  back  of 
the  stone  are  inscribed  the  letters  KKKYYY. 

The  attitude  of  Herakles — standing  and  strangling  the 
lion  with  both  arms — goes  back  to  archaic  Greek  times, 
and  was  used  throughout  the  Greek  and  Roman  periods 
(cf.  Furtwangler  in  Roscher’s  Lexikon,  under  Herakles, 
col.  2196  f.).  For  a  gem  similar  to  ours  cf.  Furtwangler, 
Berl.  Kat.,  No.  8234. 

%  in.  x  in.  (13.49  mm.  x  9.52  mm.);  Th.  y8  in  (3.17  mm.). 
King  Collection,  No.  221.  Published  by  Osborne,  Engraved 
Gems,  pi.  xxx,  12.  Acc.  No.  81.6.193. 


MYTHOLOGICAL  ANIMALS 

387  Garnet  set  in  a  gold  ring  with  oval  bezel.  On  the 
stone  is  roughly  engraved  a  Capricorn,  the  constellation 
of  the  goat. 

Compare  Furtwangler,  Berl.  Kat.,  Nos.  6055  ff.,  and 
the  similar  representations  on  coins,  Cohen,  Monnaies  ro- 
maines,  p.  65. 

(As  set)  %  in.  x  %  in.  (6.75  mm.  x  8.73  mm.).  From  Cyprus. 
Cesnola  Collection.  Cf.  Myres,  Handbook,  No.  4250.  The  stone 
is  convex  on  the  engraved  side.  Acc.  No.  C.  E.  79. 


t 


184  CATALOGUE  OF  ENGRAVED  GEMS 

PORTRAITS 

388  Ringstone  of  jaspery  agate.  Two  bearded 
heads  in  profile  back  to  back,  on  a  bust  in  full  front 
(Janus?).  The  style  is  that  of  the  third  century  A.  D. 

Compare  Furtwangler,  Berl.  Kat.,  Nos.  4933,  4934; 
cf.  also  Roscher  in  Roscher’s  Lexikon,  under  Janus,  cols. 
49  ff.). 

%  in.  x  y8  in.  (19.84  mm.  x  15.87  mm.);  Th.  %  in.  (4.36  mm.). 
King  Collection,  No.  273.  Published  by  King,  Ant.  Gems  and 
Rings,  11,  woodcuts,  p.  1,  6;  illustrated,  King,  Ant.  Gems,  p. 
3 1 5.  Convex  on  both  sides.  Acc.  No.  81 .6. 195. 

389  Red  Jasper  Ringstone.  Bust  of  a  youth  wear¬ 
ing  a  Phrygian  cap,  in  profile  to  right.  In  the  field  is  a 
crescent. 

%in.  x  %  in.  (13.89  mm.  x  10.32  mm.);  Th.  %,  in.  (3.97  mm.). 
King  Collection,  No.  134.  Unpublished.  Slightly  convex  on 
both  sides.  Acc.  No.  81.6.196. 

390  Sard  Ringstone.  Portrait-bust  of  a  woman  in 
profile  to  left;  her  hair  is  parted  in  the  middle  and  done 
up  in  a  plaited  coil  at  the  back  of  the  head,  in  the  fashion 
prevalent  in  the  second  century  A.  D.;  compare,  e.  g., 
the  coins  of  Crispina  (177  A.  D.),  Bernoulli,  Romische 
Ikonographie,  II,  2,  Munztafel,  V,  15,  16. 

V2  in.  x%  in.  (12.7  mm.  x  10.71  mm.);Th.  %  in.  (1.98  mm.). 
King  Collection,  No.  277.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  copperplates,  first  group,  i,  10.  Acc.  No.  81.6.199. 

391  Carnelian  Ringstone.  A  portrait-bust  of  a 
young  woman,  in  profile  to  right.  The  hair  is  parted  in 
the  middle  of  the  forehead,  brought  down  in  a  low  loop 
over  the  ears,  and  wound  in  a  coil  at  the  back  of  the  head. 
In  the  field  is  the  inscription  TE  EGO  AMO,  “I  love 
you,”  and  a  cornucopia.  Rather  good  work. 


LATER  IMPERIAL  PERIOD  185 

The  style  in  which  the  hair  is  dressed  corresponds  to 
the  fashion  of  the  early  third  century;  compare,  e.  g.,  coins 
of  the  period,  Bernoulli,  Romische  Ikonographie,  II,  3, 
Munztafel,  I,  Nos.  5,  6,  13. 

Vt  in.  X274  in.  (12.7  mm.  x  10.71  mm.);  Th.  %  in.  (2.38  mm.). 
King  Collection,  No.  276.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  I,  4;  Hdbk.  of  Engraved  Gems,  pi. 
Ixxiii,  7.  Convex  on  the  unengraved  side.  Acc.  No.  81.6.197. 

392  Carnelian  Ringstone.  Portrait-bust  of  a  wo¬ 
man  in  profile  to  right  with  hair  gathered  in  a  knot  at 
the  nape  of  the  neck.  Not  earlier  than  the  111  century 
A.  D. 

^  in.  x  %  in.  (15-87  mm.  x  1 1.91  mm.);  Th.  yg  in.  (3.17  mm.). 
King  Collection,  No.  283.  Unpublished.  Convex  on  both 
sides.  Chipped  around  the  edge.  Acc.  No.  81.6.198. 

393  Carnelian  Ringstone.  Two  busts,  one  male, 
one  female,  in  profile,  facing  each  other,  with  an  eagle 
perched  on  an  altar  between  them.  In  the  eagle’s  beak 
is  a  wreath;  from  the  heads  and  necks  of  the  busts  spring 
ears  of  wheat. 

%  in.  x  %  in.  (11.51  mm.  x  14.68  mm.);  Th.  %  in.  (3.17mm.). 
King  Collection,  No.  270.  Published  by  King,  Ant.  Gems 
and  Rings,  I,  p.  198,  and  II,  copperplates,  second  group,  iii,  6; 
illustrated,  King,  Ant.  Gems,  pi.  iii,  6.  Convex  on  both  sides. 
Acc.  No.  81.6.201. 

394  Silver  Ringstone.  Portrait-busts  of  a  bearded 
man  and  a  woman  facing  each  other;  in  the  field  is  an 
inscription,  partly  illegible,  (..RI  VAS).  The  style  of 
the  portraits  is  that  of  the  1 1 1  century  A.  D. 

For  a  similar  representation  of  the  same  period  cf.  Furt- 
wangler,  Berk  Kat.,  No.  993. 

S14i  in.  x  %  in.  (12.3  mm.  x  23.81  mm.);Th.  %  in.  (4.76  mm.). 
King  Collection,  No.  285.  Unpublished.  The  silver  has  oxi¬ 
dized  and  has  assumed  a  leaden  gray  color.  Acc.  No.  81.6.200. 


1 86  CATALOGUE  OF  ENGRAVED  GEMS 

395  Amethyst  Ringstone.  Two  female  busts  in 
profile  facing  each  other  with  a  small  bust  of  a  child  in  full 
front  between  them.  Each  of  the  larger  busts  wears  a  veil 
and  a  diadem. 

For  the  grouping  compare  Furtwangler,  A.  G.,  pi.  xlviii, 
32. 

3%t  in.  x%  in.  (13. 1  mm.  x  14.68  mm.);  Th.  %  in.  (5.95  mm.). 
King  Collection,  No.  254.  Unpublished.  Convex  on  both 
sides.  Chipped  around  the  edge.  Acc.  No.  81.6.202. 


SCENES  FROM  DAILY  LIFE 

396  Red  Jasper  set  in  a  silver  ring  of  elliptical  shape 
with  thick,  projecting  shoulders. 
Shepherd  sitting  to  right  milking 
a  goat;  his  crook  is  stuck  in  the 
ground  behind  him. 

For  similar  representations, 
but  of  the  early  Imperial  period, 
cf.  Furtwangler,  Berk  Kat.,  Nos. 
4679  ff. 

(As  set)  %  in.  x  %  in.  (1 1.91  mm.  x  15.08  mm.).  King  Col¬ 
lection,  No.  236.  Said  to  be  from  Yorkshire.  Unpublished. 
The  stone  is  convex  on  the  engraved  side.  Acc.  No.  81.6.204. 

397  Garnet  set  in  a  gold  ring  with  oval  bezel.  On  the 
stone  is  roughly  engraved  a  female  figure  standing  to 
right. 

(As  set)  %  in.  x  %  in.  (8.73  mm.  x  7.54  mm.).  From  Cyprus. 
Cesnola  Collection.  Cf.  Myres,  Handbook,  No.  4238.  Illus¬ 
trated,  Cesnola  Atlas,  1 1 1,  pi.  xxix,  4.  The  stone  is  convex  on  the 
engraved  side.  The  ring  is  bent  and  broken  in  places.  Acc.  No. 
C.  E.  80. 

398  Garnet  set  in  a  gold  ring  with  oval  bezel.  On 
the  stone  is  engraved  a  female  mask  in  profile  to  right. 


LATER  IMPERIAL  PERIOD 


l87 

(As  set)  %  in.  x  %  in.  (8.33  mm.  x  8.73  mm.).  From  Cyprus. 
Cesnola  Collection.  Cf.  Myres,  Handbook,  No.  4249.  The 
stone  is  convex  on  the  engraved  side.  The  gold  of  the  ring  is 
chipped  in  places.  Acc.  No.  C.  E.  81. 


ANIMALS 

399  Yellow  Jasper  set  in  a  bronze  ring.  On  the 
stone  is  engraved  a  scorpion. 

Scorpions  of  different  varieties  are  frequently  repre¬ 
sented  on  gems;  cf.  Imhoof-Blumer  u.  Keller,  Tier-  und 
Pflanzenbilder,  pi.  xxiv,  10-16. 

(Asset)  in.  x  %,  in.  (7.14  mm.  x  5.56  mm.).  From  Cyprus. 
Cesnola  Collection.  Cf.  Myres,  Handbook,  No.  4282.  illus¬ 
trated,  Cesnola  Atlas,  III,  pi.  xxix,  1.  Acc.  No.  C.  E.82. 


grylloi 

400  Carnelian  Ringstone.  Gryllos:  a  helmeted 
head  combined  with  a  mask  of  Seilenos.  For  such  fanci¬ 
ful  combinations  cf.  Nos.  265  fT. 

%in.  x  %\n.  (13.49  mm.x  15.87  mm.);  Th.  %'m.  (2.38mm.). 
From  Cyprus.  Cesnola  Collection.  Cf.  Myres,  Handbook, 
No.  4284.  Illustrated,  Cesnola  Atlas,  III,  pi.  xxxii,  4.  Slightly 
convex  on  both  sides.  Much  chipped  around  the  edge;  the 
color  has  been  affected  by  fire.  Acc.  No.  C.  E.  83. 

401  Red  Jasper  Ringstone.  Two-handled  vase 
with  the  body  in  the  form  of  three  beardless  masks;  the 
handle  of  the  lid  is  in  the  form  of  a  small  cross.  In  the 
field  a  crook  and  a  syrinx. 

For  a  similar  representation,  cf.  Furtwangler,  Berl. 
Kat.,  No.  8609. 

%  in.  x  %  ini  (14.29  mm.  x  10.71  mm.);  Th.  %  in.  (2.78  mm.). 
King  Collection,  No.  198.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  lviii,  5;  Ant.  Gems  and  Rings,  II,  woodcuts, 
pi.  xxxix,  6.  Convex  on  both  sides.  Acc.  No.  81.6.208. 


l88  CATALOGUE  OF  ENGRAVED  GEMS 

II.  Cameos  and  Work  in  the  Round 

402  Gold  Ring  with  oval  bezel  and  hoop  expanding 
into  thick  protuberances  on  the  shoulders.  In  the  bezel 
is  set  a  nicolo  ringstone  with  inscription  in  relief.  The 
inscription,  which  is  in  bluish  white  letters  on  a  black 
ground,  reads  GYTYXI  GYCEBI,  for  evrvxti.  evvePei,  “pros¬ 
per  and  be  reverent.”  The  ring  is  so  small  that  it  must 
have  been  intended  for  a  child  or  for  the  upper  joint  of  the 
little  finger.  [Not  illustrated.] 

For  the  type  of  ring  cf.  Marshall,  Cat.  of  the  Finger 
Rings  in  the  Brit.  Mus.,  p.  xlviii.  No.  E.,  xxix,  where  it 
is  dated  in  the  third  century  A.  D. 

(As  set)  5f6  in.  x  %  in.  (7.94  mm.  x  10.71  mm.).  King 
Collection,  No.  329.  Unpublished.  Acc.  No.  81.6.207. 

403  Chalcedony.  Portrait-bust  of  a  woman  with 
hair  coiled  on  top  of  her  head.  The  head  is  in  the  round, 
the  bust  in  relief.  The  ears  are  pierced  for  the  insertion  of 
earrings.  Careful  but  hard  work.  [Illustrated  on  pi.  75.] 

The  way  in  which  the  hair  is  dressed  is  that  prevalent 
in  the  second  century  A.  D.;  cf.,  e.  g.,  the  coin  types  of 
Faustina  the  Elder,  Bernoulli,  Romische  Ikonographie,  II, 
2,  Miinztafel  IV,  8-10,  where  the  hair  is  similarly  coiled 
at  the  top,  though  the  treatment  above  the  forehead  is 
different. 

L.  3%  in.  (90.49  mm.);  W.  across  shoulders,  2%  in.  (64.29 
mm.);  Th.,  through  top  of  head,  \\i  in.  (31.75  mm.).  Purchased, 
1907.  Unpublished.  The  nose,  the  ears,  and  some  places  on 
the  bust  are  chipped;  otherwise  in  excellent  preservation.  Acc. 
No.  07.286.123. 


Pi, ATE  8l 


POST-CLASSICAL  PERIODS 

EIGHTEENTH  AND  NINETEENTH  CENTURIES 

In  post-classical  times  there  are  two  epochs  in  which 
the  art  of  gem  engraving  again  flourished,  that  of  the 
Renaissance  and  that  of  the  eighteenth  and  early  nine¬ 
teenth  centuries  (cf.  p.  xxxii  f.).  The  artists  of  both  periods 
borrowed  freely  from  the  antique.  Those  of  the  Renais¬ 
sance  were  too  full  of  their  own  individuality  to  keep  very 
closely  to  the  ancient  spirit,  and  Renaissance  works  of 
classic  subjects  are  therefore  seldom  difficult  to  distinguish 
from  ancient  gems.  I  he  gem  engravers  of  the  eighteenth 
century,  on  the  other  hand,  had  little  inspiration  of  their 
own,  and  consciously  tried  to  copy  ancient  work  as  exactly 
as  possible.  And  though  at  first  this  copying  was  done 
purely  out  of  admiration  for  the  antique,  it  soon  developed 
with  unscrupulous  people  into  an  extensive  output  of 
forgeries.  At  times,  especially  when  designs  instead  of 
being  imitations  are  actual  copies  of  ancient  gems,  it  is 
extremely  difficult  to  tell  definitely  whether  a  certain  piece 
is  ancient  or  a  faithful  copy.  Mostly,  however,  the  copy¬ 
ist  betrayed  himself  by  a  slight  innovation  characteristic 
of  the  spirit  of  his  own  time  rather  than  of  the  antique. 
And  in  a  large  number  of  cases,  notably  in  the  famous 
Poniatowski  gems,  the  spirit  and  composition  are  so  far 
removed  from  ancient  work  that  few  people  would  nowa- 

189 


190  CATALOGUE  OF  ENGRAVED  GEMS 

days  be  deceived  by  them  (cf.  on  this  whole  subject 
p.  xlvi  f.). 

An  interesting  feature  of  the  gems  of  this  period  is  pre¬ 
sented  by  the  inscriptions  which  many  of  them  have. 
Though  these  sometimes  refer  to  the  subjects  repre¬ 
sented,  the  large  majority  give  the  signatures  of  the 
artist  or  would-be  artist.  For,  besides  signing  their  own 
names,  often  in  Greek  or  Roman  letters,  it  became  the 
practice  of  the  eighteenth-  and  nineteenth-century  gem- 
cutters  to  sign  the  name  of  a  famous  ancient  artist.  Gen¬ 
erally  such  forged  inscriptions  are  easily  detected,  but 
sometimes  they  are  cut  with  great  care  and  present  a 
difficult  problem.  It  should  also  be  remembered  that  at 
times  genuine  ancient  gems  are  supplied  with  forged  sig¬ 
natures  (cf.  p.  xlii). 

Besides  the  well-known  Natter  and  the  three  Pichlers, 
there  are  many  other  names  which  stand  out  among  the 
gem-cutters  of  the  period.  For  a  list  of  these  cf.  pp.  xlii  ff. 

I.  Intaglios 

DEITIES 

404  Carnelian  set  in  a  ring  of  eighteenth-century 
style.  On  the  stone  is  engraved  a  bust  of  Apollo  wearing 
a  laurel  wreath,  in  profile  to  right;  in  the  field  are  part  of  a 
lyre  and  the  inscription  CGOY  B  A I .  Probably  not  an¬ 
tique;  the  way  the  hair  is  worked  especially  points  to 
a  modern  hand. 

(As  set)  %  in.  x  %  in.  (16.67  mm.  x  14.29  mm.).  King  Col¬ 
lection,  No.  1 19.  Published  by  King,  Ant.  Gems  and  Rings, 

II,  woodcuts,  pi.  xv,  2;  illustrated,  King,  Precious  Stones,  p. 
162.  Slightly  convex  on  both  sides.  Acc.  No.  81.6.210. 

405  Lapis  Lazuli  Ringstone.  Athena  is  repre¬ 
sented  seated  to  left  holding  a  spear  in  her  right  hand;  she 


Plate  82 


POST-CLASSICAL  PERIODS  I9I 

wears  a  chiton,  a  himation,  and  a  helmet,  and  by  her  side 
are  shields  and  a  cuirass. 

Athena,  seated,  leaning  on  her  spear  and  surrounded 
with  armor,  is  a  familiar  subject  in  ancient  art  (cf.  Furt- 
wangler,  Berl.  Kat.,  Nos.  1444,  1448  ff.);  but  the  treat¬ 
ment  of  the  folds  and  the  stilted  position  of  the  goddess 
on  this  gem  betray  its  later  workmanship. 

%  in.  x  in.  (20.64  mm.  x  16.27  mm.).  Th.  A  in.  (3.17  mm.). 
King  Collection,  No.  102.  Unpublished.  Slightly  convex  on 
both  sides.  Chipped  around  the  edge.  Acc.  No.  81.6.21 1. 

406  Carnelian  Ringstone.  Athena,  leaning  on  a 
pillar  along  which  a  serpent  is  coiled,  is  holding  a  butterfly 
over  a  burning  altar.  In  the  field  C.  H. 

Quite  modern  in  pose  and  conception. 

A  in.  x  %  in.  (1 5.87  mm.  x  13. 1  mm.);  Th.  A  in.  (3.17  mm.). 
King  Collection,  No.  99.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  xix  B.  12.  Slightly  convex  on  both 
sides.  Acc.  No.  81.6.212. 

407  Aquamarine  Ringstone.  Head  of  Athena  in 
profile  to  right.  She  wears  an  Attic  helmet  embossed 
with  a  monster.  In  the  field  is  the  signature  of  the  en¬ 
graver  Rega,  in  Greek  letters;  PCT A. 

Rega  lived  from  1761  to  1833?,  working  first  in  Rome 
with  the  Pichlers,  later  in  Naples.  For  two  other  ex¬ 
amples  of  his  work  cf.  Dalton,  Post-Classical  Gems,  Nos. 
397.  745-  He  was  a  careful,  painstaking  artist,  copying 
closely  antique  work. 

%  in.  x  %  in.  (14.68  mm.  x  10.32  mm.);  Th.  %  in.  (4.76  mm.). 
King  Collection,  No.  100.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  lxxxvi,  7;  Ant.  Gems  and  Rings,  I,  p.  412;  Os¬ 
borne,  Engraved  Gems,  pi.  xxxii,  18.  Convex  on  both  sides. 
Acc.  No.  81.6.213. 

408  Yellowish  Chalcedony  Ringstone.  Head  of 
Athena  in  three-quarters  front. 


192  CATALOGUE  OF  ENGRAVED  GEMS 

The  unstructural  treatment  of  the  face  and  hair  is  in 
striking  contrast  with  ancient  work. 

%in.x%in.  (18.25  mm.  x  13.49mm.);  Th.%  in.  (1.98mm.). 
King  Collection,  No.  98.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  copperplates,  first  group,  ii,  14.  Slightly  convex  on 
the  engraved  side.  There  are  two  depressions  on  the  unen¬ 
graved  side.  Acc.  No.  81.6.214. 

409  Rock  Crystal.  Judgment  of  Paris.  Good  ex¬ 
ample  of  the  pictorial  style  of  pseudo-classic  work.  Said 
to  be  by  Johann  Pichler  (1 734-1 791),  but  not  signed  by 
him. 

(As  set)  i4%  in.  x  1%  in.  (43.26  mm.  x  30.56  mm.).  Gift  of 
Samuel  P.  Avery,  1894.  Unpublished.  The  unengraved 
side  is  strongly  convex  and  faceted.  The  engraved  side  is  flat 
but  is  surrounded  by  a  faceted  edge.  Acc.  No.  94. 1 7. 1 . 

410  Carnelian  Ringstone.  Hermes  running  to 
left,  holding  the  kerykeion  in  one  hand;  he  is  nude  and 
has  wings  on  his  feet  and  on  his  cap.  Poor,  lifeless  work. 
In  the  field  is  the  inscription  PREIVER. 

%  in.  x  %  in.  (16.67  mm.  x  13.49  mm.);  Th.  %  in.  (3.17  mm.). 
King  Collection,  No.  1 50.  Unpublished.  Convex  on  the  unen¬ 
graved  side.  Acc.  No.  81.6.215. 

41 1  Yellowish  Chalcedony  Ringstone.  Bust  of 
Isis  with  a  lotos  flower  on  her  head,  in  profile  to  right. 

For  an  ancient  representation  of  this  subject,  cf.  Furt- 
wangler,  A.  G.,  pi.  xxxiii,  7. 

He  in.  x  He  in.  (14.29  mm.  x  11.11  mm.);  Th.  in.  (2.38 
mm.).  King  Collection,  No.  260.  Published  by  King,  Hdbk. 
of  Engraved  Gems,  pi.  lxxiii,  6;  Ant.  Gems  and  Rings,  II,  wood- 
cuts,  pi.  xlix,  7.  Slightly  convex  on  the  engraved  side.  Acc. 
No.  81.6.217. 


412  Cylinder  of  Hematite.  On  the  rounded  sur¬ 
face  are  represented  a  Maenad  and  two  Satyrs  in  Bacchic 


POST-CLASSICAL  PERIODS  193 

revelry.  The  Maenad  is  partly  draped  and  is  dancing, 
with  the  upper  part  of  her  body  bent  back;  in  one  hand  she 
holds  a  thyrsos.  The  youthful  Satyr  behind  her  is  leaping 
forward,  in  his  left  hand  swinging  a  cup  by  one  handle, 
in  his  right  holding  a  staff  with  three  disks;  a  krater  lies 
at  his  feet  on  the  ground.  He  is  followed  by  a  bearded 
Satyr  holding  a  krater  and  a  thyrsos.  The  composition 
is  full  of  freedom  and  swing,  the  abandon  of  Bacchic 
frenzy  being  well  rendered;  the  execution 
is  somewhat  sketchy. 

The  style  of  this  stone  is  puzzling.  Similar 
Bacchic  scenes  are  of  frequent  occurrence 
on  monuments  of  the  Augustan  period, 
especially  on  the  so-called  Neo-Attic  marble 
reliefs  and  on  the  terracotta  mural  reliefs 
(cf.  especially  Campana,  Antiche  opere  in 
plastica,  pis.  xxxvii,  xl,  xlvii,  xlviii,  1,  and  an 
example  in  this  Museum,  illustrated  in  the  Museum  Bul¬ 
letin,  1913,  p.  177,  fig.  6).  But  the  figures  on  this  cylinder 
are  different  from  those  on  the  Graeco-Roman  representa¬ 
tions,  being  much  less  finished  in  treatment.  Neither  is 
the  style  Hellenistic  Greek.  Furtwangler,  therefore,  in 
publishing  this  gem  (A.  G.,  Ixvi,  7),  called  it  Italic,  not 
before  the  1 1— I  century  B.  C.  The  stone  has,  however, 
no  parallel  among  the  Italic  gems  of  that  period,  either 
in  subject  or  in  style  (compare  our  examples  on  pp.  70  ff., 
and  Furtwangler,  A.  G.,  pis.  xxi-xxx). 

There  are,  moreover,  a  number  of  features  which  render 
the  antiquity  of  this  stone  doubtful.  A  group  of  a  Maenad 
and  a  youthful  Satyr  almost  identical  with  two  of  our 
figures  appears  on  a  terracotta  relief  in  the  Villa  Albani; 
Rome  (cf.  Helbig,  Guide,  second  edition,  II,  p.  25,  No. 
752;  illustrated  in  Baumeister,  Denkmaler,  II,  pi.  xviii, 
fig.  931,  and  Reinach,  Repertoire  de  reliefs,  3,  p.  144,  3). 


194  CATALOGUE  OF  ENGRAVED  GEMS 

The  two  are  so  nearly  related  that  the  probability  arises 
that  one  is  copied  from  the  other.  For  though  single 
figures  of  Maenads  or  Satyrs  of  certain  well-known  types 
frequently  occur  on  engraved  stones,  there  is  no  other 
known  instance  where  a  whole  group  occurring  on  a  larger 
monument  is  so  closely  repeated  on  a  gem;  and  what  ren¬ 
ders  this  case  more  remarkable  is  the  fact  that  the  Satyr 
with  the  curious  staff  ending  in  disks1  is  not  a  popular  type 
occurring  elsewhere,  but  is  confined  to  the  terracotta  relief 
and  to  our  stone.  Furthermore,  a  close  examination  of 
the  figures  on  our  cylinder  shows  a  number  of  unstructural 
elements  foreign  to  ancient  art.  It  is  not  clear  whether  the 
upper  part  of  the  Maenad  is  intended  for  her  back  or  her 
chest.  The  youthful  Satyr’s  staff  is  not  really  held  in  his 
hand  but  appears  to  pass  between  his  legs.  The  attitude 
of  the  bearded  Satyr  suggests  that  he  is  grasping  with  both 
hands  the  vase  which  he  is  carrying,  so  it  is  not  plain  how 
he  is  holding  the  thyrsos  (this  was  also  noted  by  Furt- 
wangler) .  The  upper  part  of  the  bearded  Satyr  is  strangely 
modeled.  The  faces  of  the  two  Satyrs  are  also  unusual. 
That  of  the  young  one  is  certainly  more  like  a 
modern  Italian  than  an  antique  type;  while  his  bearded 
companion  resembles  a  philosopher  rather  than  an 
exuberant  Greek  Satyr.  The  drapery  slung  around 
the  latter’s  arm,  instead  of  the  usual  nebris,  is  also 
noteworthy.  Finally,  the  round  cylinder  form  is  not 
otherwise  known  in  this  period,  and  it  should  be  re¬ 
marked  that  the  edge  of  the  perforation  shows  no  sign  of 
wear. 

These  considerations  make  it  probable  that  the  stone 
is  an  unusually  clever  product  of  a  modern  forger,  rather 
than  a  genuine  ancient  work. 

1  If  meant  for  a  kottabos  stand,  it  is  different  from  the  extant  specimens 
(cf.  G.  M.  A.  Richter,  Cat.  of  Bronzes  in  the  Met.  Mus.,  No.  1830). 


POST  —  CLASSICAL  PERIODS 


195 


L.  %  in.  (22.62  mm).;  D.  %  in.  (13.89  mm.).  Purchased, 
191 1.  Formerly  in  the  Le  Turq  Collection,  and  then  in  that  of 
Sir  Arthur  J.  Evans.  Published  by  Furtwangler,  A.  G.,  pi. 
lxvi,  7.  Described,  Museum  Bulletin,  1912,  p.  98.  Acc.  No. 

11. 195.3. 


HEROES 

413  Carnelian  Ringstone.  Herakles  lifting  Antaios 
from  the  ground  to  strangle  him,  so  that  he  may  be  de¬ 
prived  of  the  help  of  his  mother  Earth,  who  is  represented 
below. 

This  version  of  the  story  does  not  occur  on  ancient 
monuments,  where  Herakles  lifts  Antaios  preparatory  to 
throwing  him  down  (cf.  Furtwangler  in  Roscher’s  Lexikon, 
under  Herakles,  col.  2245).  But  apart  from  this,  the  whole 
conception  of  the  group  with  its  restless  composition  and 
exaggerated  poses  is  thoroughly  unclassical. 

%  in.  x%  in.  (23.81  mm.  x  16.67  mm.);  Th.  %  in.  (3.57  mm.). 
King  Collection,  No.  225.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  xxxiii,  9;  Osborne,  Engraved  Gems,  pi. 
xxx,  18;  illustrated,  King,  Ant.  Gems,  p.  206.  Convex  on 
both  sides.  Acc.  No.  81.6.218. 


414  Sard  Ringstone,  quadrangular  in  shape  with 
rounded  corners.  Herakles  shooting  an  arrow  at  the 
Stymphalian  birds;  around  the  representation  is  a  cable 
border. 

This  is  clearly  a  copy  of  an  ancient  gem  such  as  Furt¬ 
wangler,  A.  G.,  pi.  xviii,  69.  A  comparison  between  the 
vigorous  hero  on  the  earlier  gem  and  his  sophisticated 
successor  on  this  stone  is  instructive. 

%in.x%in.  (15.08  mm. x  17.06  mm.);  Th.  %in.  (1.19mm.). 
King  Collection,  No.  220.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  xxxiii,  5;  Hdbk.  of  Engraved  Gems,  pi. 
lxiv,  1;  illustrated,  King,  Precious  Stones,  p.  13.  The  upper 
right-hand  comer  is  missing.  Acc.  No.  81.6.219. 


196  CATALOGUE  OF  ENGRAVED  GEMS 

415  Front  of  a  Chalcedony  Scarab.  Herakles  is 
kneeling  to  right,  in  the  act  of  shooting  an  arrow;  by  his 
side  is  his  club.  Around  the  representation  is  a  cable 
border. 

Feeble  modern  work  in  imitation  of  the  archaic  Etruscan 
style. 

%in.  x%in.  (17.06  mm.  x  11.91  mm.);Th.  ys  in.  (3.17  mm.). 
King  Collection,  No.  216.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  Ixiv,  4;  Ant.  Gems  and  Rings,  II,  woodcuts,  pi. 
xxxiii,  6.  Acc.  No.  81.6.220. 

416  Carnelian.  Jason,  about  to  leave  on  the  ship 
Argo,  is  bidding  farewell  to  his  teacher  Cheiron,  who  is 
carrying  the  infant  Achilles  on  his  back.  In  the  field  is 
the  inscription  KPCOMOY,  apparently  meant  for  the 
signature  of  an  ancient  artist. 

A  typical  example  of  the  famous  “  Poniatowski”  gems 
with  elaborate  representations  from  heroic  legends,  made 
by  gem  engravers  of  the  early  nineteenth  century,  and 
originally  sold  as  antiques.  Like  the  large  terracotta 
groups  sold  for  “Tanagras”  in  the  last  century,  they  show 
that  audacious  forgers  could  c»unt  on  a  credulous  public 
for  at  least  a  short  time. 

(As  set)  1%  in.  x  1%  in.  (28.18  mm.  x  40.08  mm.).  Gift  of 
Samuel  P.  Avery,  1894.  Said  to  be  from  the  Poniatowski  Col¬ 
lection.  Slightly  convex  on  the  engraved  side.  Acc.  No. 
94.17.3. 

417  Banded  Agate  Ringstone,  quadrangular  with 
rounded  corners.  Ajax  seizing  Kassandra,  who  has 
taken  refuge  on  the  altar  of  Athena  and  is  clinging  to  her 
statue.  1  he  representation  is  surrounded  by  a  cable  bor¬ 
der. 

Evidently  adapted  from  an  ancient  engraving  such  as 
on  Murray-Smith,  Cat.  of  Engraved  Gems  in  the  Brit. 


434 


433 


432 


429 


Plate  84 


430 


POST-CLASSICAL  PERIODS  1 97 

Mus.,  No.  1435,  which  is,  however,  more  direct  and  vivid 
in  treatment.  A  beautiful  rendering  of  the  subject  ap¬ 
pears  on  a  vase  in  the  Louvre  (cf.  A.  France,  Daremberg  et 
Saglio,  Dictionnaire,  under  Cassandra,  p.  936,  fig.  1208). 

%  in.  x%  in.  (19.84  mm.  x  15.48  mm.);Th.K  in.  (3.17  mm.). 
King  Collection,  No.  241.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  lxvi,  2;  Ant.  Gems  and  Rings,  II,  woodcuts, 
pi.  xlv,  6.  Acc.  No.  81.6.221. 

418  Sard  Ringstone.  Girl  wearing  a  helmet,  seated 
before  an  image  of  Athena;  behind  her  is  a  tree. 

This  is  probably  an  adaptation  of  an  ancient  design 
with  Kassandra  before  the  palladion;  cf.  Furtwangler, 
A.  G.,  pi.  xxxviii,  1. 

%  in.  x  %  in.  (13-89  mm.  x  13.49  mm.);  Th.  yg  in.  (3.17  mm.). 
King  Collection,  No.  139.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  xvi,  8;  illustrated,  King,  Ant.  Gems, 
p.378.  Convex  on  the  engraved  side.  Acc.  No.  81.6.222. 

419  Carnelian  Ringstone,  quadrangular  in  shape 
with  rounded  corners.  Amymone  kneeling  to  right, 
holding  a  jug  in  one  hand  and  the  trident  of  Poseidon 
in  the  other. 

For  an  ancient  gem  with  this  composition  cf.  Furtwang¬ 
ler,  A.  G.,  pi.  xxx,  29.  A  comparison  between  the  two 
brings  out  the  lifeless,  stilted  character  of  the  modern 
work. 

554t  in.  x  %  in.  (21.83  mm.  x  20.64  mm.);  Th.  %  in.  (8.33  mm.). 
King  Collection,  No.  89.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  xiii,  3;  illustrated,  King,  Ant.  Gems,  p. 
xxiv.  Chipped  on  the  edge.  Both  sides  are  convex.  Acc. 
No.  81.6.223. 

420  Amethyst  Ringstone.  Psyche  kneeling  on  one 
knee  and  opening  the  casket  which  she  was  to  have  brought 
to  Aphrodite;  from  the  casket  vapors  are  escaping;  in 


I98  CATALOGUE  OF  ENGRAVED  GEMS 

the  exergue  the  inscription  TNAIOC,  purporting  to  be 
the  signature  of  the  famous  ancient  gem-cutter  who  lived 
in  the  time  of  Augustus.  Good,  spirited  work,  but  thor¬ 
oughly  modern  in  conception. 

1  in.  x  1%  in.  (25.79  mm-  x  29.76  mm.);  Th.  %  in.  (10.32 
mm.).  King  Collection,  No.  181.  From  the  Poniatowski  Col¬ 
lection.  Published  by  King,  Hdbk.  of  Engraved  Gems,  p.  133; 
Ant.  Gems  and  Rings,  II,  woodcuts,  pi.  xxv  A,  3;  Poniatowski 
Catalogue  (1857),  I,  No.  128,  p.  64.  Convex  on  both  sides. 
Acc.  No.  81.6.224. 

421  Carnelian  Ringstone.  Omphale  walking  to 
left;  she  wears  the  lion’s  skin  and  carries  the  club  of  Her- 
akles.  In  the  field  is  the  inscription  GAAHN. 

This  is  a  favorite  subject  on  ancient  gems;  cf.  Furt- 
wangler,  A.  G.,  pis.  xxv,  48,  xxxvii,  13,  14,  19,  and  Ixii,  5; 
also  the  references  given  in  the  text.  The  representation 
on  our  stone  varies  from  these  only  in  minor  details,  such 
as  the  pose  of  the  head;  but  it  is  instructive  to  see  how 
much  of  the  charm  of  the  figure  has  thereby  been  lost. 
The  inscription  GAAHN  occurs  on  a  number  of  other  eigh¬ 
teenth-century  stones,  apparently  meant  for  an  artist’s 
signature  (cf.  Dalton,  Post-Classical  Gems,  No.  784). 

%in.  x%in.  (20.64  mm.  x  1 5.48  mm.);  Th.  in.  (4.76  mm.). 
King  Collection,  No.  218.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  copperplates,  first  group,  V,  60;  Osborne,  Engraved 
Gems,  pi.  xxx,  13.  Slightly  convex  on  both  sides.  Chipped  in 
places.  Acc.  No.  81.6.225. 

422  Carnelian  Ringstone.  Youth  sitting  on  a  rock, 
holding  a  lyre  and  confronted  by  three  women  (the  three 
Fates?),  one  of  whom  points  to  a  heap  of  shields  and 
swords;  in  the  exergue,  two  branches. 

%  in.  x3?4  ,n-  (1 5.08  mm.  x  13.89  mm.);  Th.  in.  (3-97  mm.). 
King  Collection,  No.  275.  Unpublished.  Convex  on  the  en¬ 
graved  side.  Acc.  No.  81.6.226. 


Plate  85 


434 


459 


POST-CLASSICAL  PERIODS 


I99 


MONSTERS  AND  MYTHOLOGICAL  ANIMALS 

423  Black  Jasper  Ringstone.  Head  of  the  dead 
Medusa,  with  eyes  closed,  in  profile  to  left;  in  her  hair  are 
wings  and  a  serpent  used  as  a  fillet,  while  another  serpent 
is  tied  around  her  neck  and  knotted  under  the  chin.  The 
wing  is  deeply  engraved  and  stands  out  effectively  in  the 
impression.  The  whole  is  skilfully  and  carefully  worked. 

There  are  many  replicas  of  this  type,  both  of  ancient 
and  modern  execution  (cf.  Furtwangler,  A.  G.,  pi.  xlix, 
14,1  and  references  there  quoted,  and  Dalton,  Post-Class¬ 
ical  Gems,  pi.  xxv  ii.  Nos.  793-796).  The  ancient  exam¬ 
ples  belong  to  the  Augustan  period  and  probably  repro¬ 
duce  a  famous  sculptural  work  or  painting  of  the  time. 
The  modern  copies  sometimes  approximate  closely  the 
antique  works,  though  a  modern  element  in  the  expression 
or  an  unconvincing  feature  in  the  treatment  of  the  hair 
almost  always  helps  us  to  detect  the  copyist. 

%  in-  x  %  in.  (18.25  mm.  x  1 5.48  mm.);  Th.  %  in.  (3.97  mm.). 
King  Collection,  No.  108.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  xx,  3;  illustrated,  King,  Precious 
Stones,  p.  284.  Slightly  convex  on  the  engraved  side.  Acc.  No. 
81.6.227. 

424  Carnelian  Ringstone.  Head  of  the  dead  Me¬ 
dusa,  with  eyes  closed,  in  profile  to  right;  in  her  hair  are 
wings  and  a  serpent. 

It  is  interesting  to  compare  this  stone  with  Furtwangler, 
A.  G.,  pi.  xlix,  16,  and  to  see  how  closely  ours  resembles 
the  other  in  the  treatment  of  the  hair,  but  also  how  lifeless 
and  stilted  the  modern  work  is  by  comparison;  moreover, 

1  In  Dalton’s  Post-Classical  Gems,  No.  792,  pi.  xxviii,  this  gem  is  as¬ 
signed  to  the  early  eighteenth  century:  he  forgets  that  this  gem  was  known 
as  early  as  the  first  half  of  the  seventeenth  century  (cf.  Reinach,  Pierres 
gravees,  p.  181,  No.  65,  and  Furtwangler,  Jahrbuch,  1888,  p.  214). 


200  CATALOGUE  OF  ENGRAVED  GEMS 

the  serpent  which  is  supposed  to  act  as  a  fillet  appears 
here  merely  in  two  unconvincing  loops. 

%  in.  x  %  in.  (13.89  mm.  x  1 1 .91  mm.);  Th.  %  in.  (3.57  mm.). 
King  Collection,  No.  105.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  copperplates,  first  group,  ii,  15.  Convex  on  both 
sides.  Acc.  No.  81.6.229. 

425  Carnelian  Ringstone.  Head  of  Medusa  in 
profile  to  right,  with  wings  and  a  serpent  in  her  hair. 

This  type  of  Medusa  with  eyes  open  instead  of  closed 
was  popular  also  in  ancient  times  (cf.  Furtwangler,  A.  G., 
pi.  xxxviii,  3 1 ,  32 ;  xl,  16,  17);  but  our  example  is  obviously 
unclassical  both  in  expression  and  in  the  treatment  of  the 
hair. 

19^2  in.  x  in.  (1 5.08  mm.  x  14.68  mm.);  Th.  %  in.  (2.78  mm.). 
King  Collection,  No.  107.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  xx,  8.  Slightly  convex  on  the  engraved 
side.  Somewhat  chipped  on  the  lower  side.  Ac c.  No.  81.6.230. 

426  Emerald  Ringstone.  The  head  of  Medusa,  of 
the  same  general  type  as  the  preceding. 

%,  in.  x  %  in.  (7.14  mm.  x  5.95  mm.);  Th.  %  in.  (1.98  mm.). 
King  Collection,  No.  106.  Unpublished.  Convex  on  the  unen¬ 
graved  side.  Acc.  No.  81.6.231. 

427  Carnelian  Ringstone.  The  head  of  Medusa 
with  wings  and  serpents,  in  three-quarters  front. 

Vs  in.  \  y2  in.  (15.87  mm.  x  12.7  mm.);  Th.  in.  (3.97  mm.). 
King  Collection,  No.  109.  Published  by  Osborne,  Engraved 
Gems,  pi.  xxx,  17.  Convex  on  both  sides.  Chipped  in  places. 
Acc.  No.  81 .6.228. 

428  Sard.  Alekto,  one  of  the  Furies,  blowing  a  trum¬ 
pet  and  holding  a  lighted  torch;  one  foot  is  placed  on 
a  slain  deer.  In  the  exergue  KPCOMOY,  apparently 
meant  for  the  signature  of  an  ancient  artist  (compare 
No.  416). 


POST-CLASSICAL  PERIODS 


201 


Like  No.  416,  a  typical  example  of  the  famous  Ponia- 
towski  gems. 

1%  in.  x  1  Vs  in.  (36.1 1  mm.  x  28.37  mm.).  Gift  of  Samuel  P. 
Avery,  1894.  Said  to  be  from  the  Poniatowski  Collection. 
Slightly  convex  on  the  engraved  side.  Acc.  No.  94. 1 7.2. 

429  Banded  Agate  Ringstone,  quadrangular  with 
rounded  corners.  A  male  and  female  Triton  moving  over 
the  waves  to  left;  he  holds  a  rudder  over  his  shoulder. 

For  a  similar  but  much  more  graceful  and  lifelike  com¬ 
position  on  an  ancient  gem  cf.  Furtwangler,  A.  G.,  pi. 
xli,  41. 

in.  x5%4  in.  (19.45  mm.  x  21.83  mm.);  Th.  %  in.  (2.78  mm.). 
King  Collection,  No.  85.  Published  by  Osborne,  Engraved 
Gems,  pi.  xxxi,  3.  Acc.  No.  81.6.232. 

430  Front  of  a  Sard  Scarab.  Sphinx  lying  to  right, 
surrounded  by  a  cable  border. 

3Ya  in.  x  %  in.  (12.3  mm.  x  17.46  mm.);  Th.  %  in.  (4.36  mm.). 
King  Collection,  No.  310.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  lv,  10.  The  scarab  has  been  cut  across 
lengthwise  in  the  middle,  as  shown  by  the  mark  of  the  perfora¬ 
tion.  Acc.  No.  81.6.233. 


PORTRAITS 

431  Lapis  Lazuli  Ringstone.  Both  sides  are  en¬ 
graved.  On  one  side  is  the  head  of  Alexander  in  profile 
to  right,  with  the  horns  of  Jupiter  Ammon.  On  the  other 
side  are  Apollo  and  Aphrodite  standing  side  by  side; 
Apollo  holds  the  lyre,  and  is  leaning  on  a  tree  stump;  a 
laurel  tree  is  by  his  side;  Aphrodite  is  caressing  Eros. 
Thoroughly  modern  in  conception. 

%  in.  x  Yi  in.  (23.41  mm.  x  22.22  mm.);  Th.  54  >n-  (3.97  mm.). 
King  Collection,  No.  252.  Side  with  Alexander  published  by 
King,  Ant.  Gems  and  Rings,  1,  p.  470  and  II,  woodcuts,  pi.  xlvii, 
4;  Hdbk.  of  Engraved  Gems,  pi.  Ixx,  6;  side  with  Apollo  and 


202  CATALOGUE  OF  ENGRAVED  GEMS 

Aphrodite,  King,  Ant.  Gems  and  Rings,  II,  woodcuts,  pi.  xxiii, 
B,  7 ;  both  sides  illustrated,  King,  Ant.  Gems,  p.  xxxii.  Convex 
on  both  sides.  Acc.  No.  81.6.236. 

432  Garnet  set  in  a  decorated  ring  of  the  seventeenth- 
to  eighteenth-century  style.  Portrait-bust  of  a  Roman 
in  profile  to  left,  probably  meant  for  Julius  Caesar.  Care¬ 
ful  work  but  lacking  in  vigor. 

(As  set)  %,  in.  x  %  in.  (14.29  mm.  x  12.3  mm.).  King  Col¬ 
lection,  No.  259.  Unpublished.  The  edges  of  the  stone  above 
the  setting  are  faceted.  Acc.  No.  81.6.235. 

433  Carnelian  Ringstone.  Portrait-head  of  a  Roman 
in  profile  to  right,  wearing  a  helmet  with  chin-strap. 

The  type  resembles  that  generally  identified  with  Scipio 
Africanus,  235-183  B.  C.  (cf.  Bernoulli,  Romische  Ikon- 
ographie,  1,  Miinztafel  I,  18,  19). 

in.  x  y2  in.  (17.86  mm.  x  12.7  mm.);  Th.  %  in.  (3.57  mm.). 
King  Collection,  No.  257.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  lxxiii,  3;  Ant.  Gems  and  Rings,  II,  woodcuts, 
pi.  xiviii,  3.  Convex  on  the  unengraved  side.  Acc.  No.  81 .6.237. 

434  Nicolo  Ringstone.  Portrait-head  of  a  Roman 
in  profile  to  right.  In  the  field  a  kerykeion  and  a  tor¬ 
toise. 

The  portrait  bears  a  certain  resemblance  to  that  of 
M.  Junius  Brutus  (cf.  No.  215),  and  used  to  be  identified 
with  him  (cf.  Marlborough  Gems,  vol.  1,  pi.  v);  but 
there  are  important  differences  in  the  types.  Our  stone 
is  probably  not  ancient,  but  a  good  imitation  of  the  an¬ 
tique  by  a  gem  engraver  of  the  last  centuries.  The  en¬ 
graving  of  the  kerykeion  is  certainly  not  in  the  ancient 
manner. 

%  in.  x  %  in.  (13.49  mm.  x  11.91  mm.);  Th.  ys  in.  (3.17  mm.). 
Purchased,  1910.  Formerly  in  the  Marlborough  Collection; 
cf.  Story-Maskelyne,  Cat.  of  the  Marlborough  Collection,  p. 


Plate  86 


POST-CLASSICAL  PERIODS  203 

88,  No.  521  (where  it  is  also  classed  as  modern),  and  Marl¬ 
borough  Gems,  loc.  cit.  (there  illustrated  in  a  beautiful  en¬ 
graving  by  F.  Bartolozzi,  which  is  here  reproduced  in  pi.  85). 
Mentioned,  Museum  Bulletin,  1910,  p.  276.  Slightly  convex 
on  the  unengraved  side.  Acc.  No.  10.131.2. 

435  Chalcedony  Ringstone.  Portrait-head  of  Clau¬ 
dius  in  profile  to  left,  wearing  a  radiated  crown. 

A  comparison  with  the  Roman  coin  types  (cf.  Ber¬ 
noulli,  Romische  Ikonographie,  11,  1,  pi.  xxxiv,  9-12) 
makes  us  appreciate  the  force  and  character  of  Roman 
work. 

4%in.x  %  in.  (18.65  mm.  x  14.29  mm.);  Th.  %  in.  (3.57  mm.). 
King  Collection,  No.  262.  Unpublished.  Convex  on  both 
sides.  Broken  in  three  pieces  and  reattached.  Acc.  No.  81.6. 
239. 

436  Carnelian  Ringstone.  Head  of  Nero  wearing  a 
laurel  wreath,  in  profile  to  right.  Compare  the  Roman  coin 
types,  Bernoulli,  Romische  Ikonographie,  II,  1,  pi.  xxxv, 
9-12;  but  again  the  modern  work  is  much  feebler. 

%  in.  x  Vs  in.  (20.24  mm.  x  15.87  mm.);  Th.  54  in.  (3.97  mm.). 
King  Collection,  No.  264.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  copperplates,  first  group,  ii,  19.  Very  slightly  convex 
on  both  sides.  Acc.  No.  81 .6.238. 

437  Carnelian  Ringstone.  Portrait  of  a  man  wear¬ 
ing  a  laurel  wreath,  in  profile  to  left. 

The  head  bears  some  similarity  to  that  of  the  emperor 
Domitian  (51-96  A.  D.);  cf.  Bernoulli,  Romische  Ikono¬ 
graphie,  II,  2,  Miinztafel  II,  10. 

in-  x  Vi  <n-  (16.27  mm.  x  ,2-7  mm.);  Th.  %  in.  (3.57  mm.). 
King  Collection,  No.  265.  Unpublished.  Convex  on  both 
sides.  Chipped  in  one  place.  Acc.  No.  81 .6.240. 

438  Carnelian  Ringstone.  Bust  of  Nerva  wearing 
a  laurel  wreath,  in  profile  to  right.  Fine  execution  but 
lacking  the  vigor  of  ancient  work. 


204  CATALOGUE  OF  ENGRAVED  GEMS 

Compare  the  coin  types,  Bernoulli,  Romische  Ikono- 
graphie,  11,  2,  Miinztafel  II,  17-19. 

%  in.  x  %  in.  (19.05  mm.  x  13.49  mm.);  Th.  %  in.  (3.57  mm.). 
King  Collection,  No.  266.  Unpublished.  Convex  on  the  en¬ 
graved  side.  Acc.  No.  81.6.241. 

439  Sard  Ringstone.  Portrait-head  of  a  man, 
partly  bald,  in  profile  to  right;  in  the  field  part  of  a  shield. 

%  in.  x  Yi  in.  (14.68  mm.  x  12.7  mm.);  Th.  in.  (2.78  mm.). 
King  Collection,  No.  256.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  woodcuts,  pi.  xlviii,  4,  and  copperplates,  first  group,  1, 
9;  Osborne,  Engraved  Gems,  pi.  xviii,  25;  illustrated,  King, 
Precious  Stones,  p.  310.  Slightly  convex  on  the  engraved  side. 
Acc.  No.  81.6.242. 

440  Carnelian  Ringstone.  Portrait-bust  of  a 
bearded  man  in  profile  to  right.  Finical  modern  work. 

%  in.  x  %x4x  in.  (15.48  mm.  x  12.3  mm.);  Th.  in.  (2.38  mm.). 
King  Collection,  No.  284.  Unpublished.  A  largish  chip  on  one 
side  is  missing.  Acc.  No.  81.6.243. 

441  Garnet  Ringstone.  Portrait-head  of  a  bearded 
man  in  profile  to  right.  Good  execution,  but  empty  ex¬ 
pression. 

%  in.  x  Y  in.  (1 5.48  mm.  x  12.7  mm.);  Th.  %  in.  (2.78  mm.). 
King  Collection,  No.  267.  Unpublished.  Acc.  No.  81.6.244. 

442  Sard  Ringstone.  Portrait-bust  of  a  bearded 
man  in  profile  to  right.  The  arrangement  of  the  chlamys 
suggests  a  modern  hand. 

^in.  x%in.  (17.06  mm.  x  13.89  mm.);  Th.  %  in-  (2.78  mm.). 
King  Collection,  No.  272.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  copperplates,  first  group,  ii,  23.  Slightly  convex  on 
the  engraved  side.  Acc.  No.  81.6.194. 

443  Hyacinthine  Garnet  Ringstone.  Busts  of  a 
bearded  man  and  a  girl  in  profile  to  right.  Quite  modern 
in  conception. 


P O S T- C L A S S  I  C  A  L  PERIODS 


205 

%  in.  x  %  in.  (15.87  mm.  x  14.68  mm.);  Th.  %  in.  (5.95  mm.). 
King  Collection,  No.  224.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  copperplates,  first  group,  v,  52.  Convex  on  both 
sides.  Acc.  No.  81.6.245. 

444  Sard  Ringstone.  Portrait-bust  of  a  woman  in 
profile  to  right.  In  the  field  the  inscription  AVAOY  (A 
for  A). 

Compare  Murray-Smith,  Cat.  of  Engraved  Gems  in  the 
Brit.  Mus.,  Nos.  1613-1615  (all  probably  modern). 

The  lady’s  coiffure  appears  to  be  a  misunderstood  imi¬ 
tation  of  that  of  the  empress  Sabina  (cf.  Bernoulli,  Rom- 
ische  Ikonographie,  II,  2,  Munztafel  III,  18).  The  name 
of  the  ancient  engraver  Aulus  was  frequently  forged  in  the 
eighteenth  and  nineteenth  centuries  (cf.  Furtwangler, 
Jahrbuch,  1889,  pp.  51  ff.). 

%  in.  x  y2  in.  (17.46  mm.  x  12.7  mm.);  Th.  %,  in.  (5.56  mm.). 
King  Collection,  No.  268.  Unpublished.  Convex  on  both 
sides.  Acc.  No.  81.6.246. 

445  Carnelian  Ringstone.  Portrait-bust  of  a  wo¬ 
man  in  profile  to  right,  her  hair  in  braids  around  her  head. 

%  in.  x  %  in.  (17.06  mm.  x  13.49  mm.);  Th.  %  in.  (4.76  mm.). 
King  Collection,  No.  282.  Unpublished.  Convex  on  both 
sides.  Acc.  No.  81.6.247. 

446  Carnelian  Ringstone.  Portrait-bust  of  a  woman 
in  profile  to  right,  her  hair  wound  in  braids  around  the 
top  of  her  head.  She  is  characterized  as  Artemis  by  the 
addition  of  a  quiver. 

%  in.  x  %  in.  (15.08  mm.  x  12.3  mm.);  Th.  %  in.  (3.57  mm.). 
King  Collection,  No.  269.  Unpublished.  Convex  on  both  sides. 
Acc.  No.  81.6.248. 

IDEAL  HEADS 

447  Carnelian  Ringstone.  Bust  of  a  youth  in 
profile  to  right.  Quite  modern  in  conception. 


206  catalogue  of  engraved  gems 


%  in.  x%  in.  (16.27  mm.  x  O'  mm.);  Th.  %  in.  (3. 17  mm.). 
King  Collection,  No.  12 1.  Unpublished.  Slightly  convex  on 
both  sides.  Chipped  at  the  bottom.  Acc.  No.  81.6.249. 

448  Carnelian  Ringstone.  Head  and  shoulders  of 
a  woman  in  profile  to  right,  before  a  pillar  surmounted  by 
a  mask  (Melpomene). 

The  engraving  is  evidently  copied  from  the  carnelian  in 
the  British  Museum,  No.  758,  published  by  Furtwangler, 
A.  G.,  pi.  xlix,  28. 

%  in.  x%  in.  (16.27  mm.  x  15.08  mm.);  Th.  %4  in.  (3.57  mm.) 
King  Collection,  No.  130.  Published  by  King,  Ant.  Gems  and 
Rings,  11,  copperplates,  first  group,  i,  8.  Convex  on  both  sides. 
Acc.  No.  81.6.250. 

449  Sard  Ringstone.  The  head  of  a  woman  with 
ram’s  horns,  in  profile  to  right. 

%  in.  x %  in.  (13.89  mm.  x  10.71  mm.);  Th.  y8  in.  (3.17  mm.). 
King  Collection,  No.  263.  Published  by  King,  Hdbk.  of  En¬ 
graved  Gems,  pi.  xx,  4.  Convex  on  the  unengraved  side. 
Acc.  No.  81.6.251. 

450  Chalcedony  Ring.  On  the  bezel  is  engraved  a 
human  head  in  full  front,  surrounded  by  branches  of  ivy. 

D.  of  ring,  1%  in.  (29.76  mm.);  L.  of  bezel,  %  in.  (20.24  mm.). 
King  Collection,  No.  199.  Unpublished.  The  bezel  is  chipped 
in  places,  and  the  ring  has  a  number  of  small  holes.  Acc.  No. 
81.6.252. 

SCENES  FROM  DAILY  LIFE 

451  Carnelian  Ringstone.  Woman  and  youth  facing; 
she  holds  him  affectionately  by  the  left  arm  and  shoulder. 
Obviously  copied  from  the  well-known  group  by  Menelaos 
in  the  National  Museum  in  Rome  identified  by  some  as 
Elektra  and  Orestes  (cf.  Helbig,  Fiihrer,  3d  edition,  II, 
p.  106,  No.  1314). 


POST-CLASSICAL  PERIODS  20~J 

%  in.  x  %  in.  (21.43  mm.  x  1548  mm.);  Th.  %  in.  (5.16  mm.). 
King  Collection,  No.  172.  Published  by  Osborne,  Engraved 
Gems,  pi.  xxx,  19.  Convex  on  both  sides.  Acc.  No.  81.6.253. 

452  Carnelian  Ringstone.  A  nude  warrior  with 
shield  and  cuirass  by  his  side,  standing  beside  his  horse. 
In  the  field  the  inscription  YTAAY  (an  English  name 
written  in  Greek  letters?). 

A  variant  of  the  gem  in  the  Marlborough  Collection, 
No.  608;  cf.  Cat.  of  the  Marlborough  Gems,  1,  pi.  xlv. 

in.  x  %  in.  (21.03  mm.  x  13.89  mm.);  Th.  y8  in.  (3.17  mm.). 
King  Collection,  No.  253.  Published  by  King,  Ant.  Gems  and 
Rings,  II,  copperplates,  first  group,  v,  56.  Said  there  to  be 
from  the  original  Poniatowski  Cabinet.  Convex  on  the  en¬ 
graved  side.  Acc.  No.  81.6.254. 

453  Carnelian  Ringstone.  Horse  falling  down  with 
warrior,  who  holds  a  shield  and  two  spears. 

The  style  is  evidently  in  imitation  of  archaic  work. 

%  in.  x  %  in.  (13.89  mm.  x  16.27  mm.);  Th.  %  in.  (1.98  mm.). 
King  Collection,  No.  167.  Published  by  King,  Ant.  Gems 
and  Rings,  II,  copperplates,  first  group,  iii,  32.  Slightly  convex 
on  both  sides.  Acc.  No.  81.6.255. 

454  Carnelian  Ringstone.  Youth  seated  on  a  base 
in  the  form  of  a  garlanded  altar  and  stooping  over  a  large 
vase  resting  on  a  disk;  one  hand  he  has  placed  on  its  body, 
the  other  is  touching  the  rim.  The  youth  is  nude  and  has 
long  hair.  He  is  not  wearing  a  petasos  as  appears  in  the 
impression  through  the  chipping  of  the  stone  in  that  place. 
In  the  field  are  a  few  indistinct  letters.  Around  the  repre¬ 
sentation  is  a  cable  border;  in  the  exergue  a  tongue  pat¬ 
tern.  The  stone  is  highly  polished.  The  execution  is 
excellent,  being  finished  in  great  detail. 

The  youth  apparently  represents  a  potter  working  a 
vase  on  the  wheel;  but  the  particular  process  of  pottery¬ 
making  intended  is  not  clear. 


2o8  catalogue  of  engraved  gems 

There  are  a  number  of  strange  features  in  this  repre¬ 
sentation.  An  altar  is  a  curious  seat  for  a  potter  working 
on  his  wheel;  and  the  shape  of  the  altar  is  even  stranger, 
for  it  appears  to  have  a  low  back  ending  in  a  swan’s  head, 1 
presumably  copied  from  chairs  such  as  those  figured  in 
Furtwangler,  Griechische  Vasenmalerei,  pi.  93,  Furtwangler, 
A.  G.,  pi.  xxv,  24,  and  Beazley,  Attic  Red-Figured  Vases, 
figs.  84  and  1 18.  The  extremely  detailed  modeling  of  the 
torso  is  also  not  in  the  manner  of  the  antique,  and  is  the 
more  remarkable  because  combined  with  a  still  archaic 
treatment  of  the  hair.  It  is  therefore  probable  that  the 
stone  is  a  clever  work  of  an  eighteenth-century  engraver, 
who  had  for  his  inspiration  an  ancient  gem  like  that  fig¬ 
ured  in  Furtwangler,  A.  G.,  pi.  xxv,  3. 

%  in.  x  34  in.  (15.48  mm.  x  12.7  mm.);  Th.  %  in.  (3.17  mm.). 
King  Collection,  No.  234.  Published  by  King,  Ant.  Gems  and 
Rings,  11,  copperplates,  first  group,  v,  55.  Slightly  convex  on 
both  sides.  Chipped  in  places,  as  noted  above.  Acc.  No. 
81.6.27. 

455  Carnelian  Ringstone.  A  man  spearing  a  lion, 
roughly  engraved;  in  the  field  the  inscription  XAVPO<t>APO, 
and  a  bird.  In  imitation  of  the  archaic  style. 

%  in.  x  %  in.  (15.08  mm.  x  13. 1  mm.);  Th.  %  in.  (5.95  mm.). 
King  Collection,  No.  237.  Unpublished.  Strongly  convex  on 
the  engraved  side.  Chipped  in  places.  Acc.  No.  81 .6.256. 


ANIMALS 

456  Carnelian  Ringstone.  Lion  attacking  a  bull. 
To  appreciate  with  what  a  different  spirit  the  antique 
treated  such  a  subject,  cf.,  e.  g.,  Furtwangler,  A.  G.,  pi. 
xiii,  36,  or  our  own  Nos.  10,  52,  244. 

1  The  stone  is  chipped  just  below  the  swan’s  head,  so  its  juncture  with 
the  altar  is  no  longer  visible.  But  if  it  is  not  a  chair  back,  what  is  it? 


POST-CLASSICAL  PERIODS 


209 

.  %  in.  x  %  in.  (14.29  mm.  x  15.87  mm.);  Th.  %  in.  (5.95  mm.). 
King  Collection,  No.  289.  Unpublished.  Convex  on  the  en¬ 
graved  side.  Somewhat  chipped  around  the  edge.  Acc.  No 
81.6.258. 

457  Carnelian  Ringstone,  of  oblong  shape.  Dol¬ 
phin  to  right;  in  the  field  a  trident  and  the  letters  A.  P.  n . 

For  ancient  representations  of  dolphins,  cf.  Furtwangler, 
Berl.  Kat.,  Nos.  2346  ff.  Note  the  simpler,  more  natural 
treatment  on  the  ancient  stones. 

%  in.  x  %  in.  (8.33  mm.  x  14.68  mm.);  Th.  y8  in.  (3.17  mm.). 
King  Collection,  No.  92.  Published  by  King,  Ant.  Gems  and 
Rings,  1,  p.  283;  illustrated,  King,  Precious  Stones,  p.  77.  Con¬ 
vex  on  the  engraved  side.  Slightly  chipped  in  places.  Acc.  No. 
81.6.  234. 


GRYLLOS 

458  Carnelian  Ringstone.  Gryllos  consisting  of 
the  bust  of  a  woman  combined  with  two  Seilenos  masks. 
The  workmanship  is  excellent,  but  probably  by  an  eigh¬ 
teenth-  or  nineteenth-century  gem  engraver  rather  than 
antique. 

For  a  similar  gem,  also  modern,  cf.  Dalton,  Post-Classi¬ 
cal  Gems,  pi.  xxxiii,  906. 

in.  x  in.  (16.27  mm.  x  12.3  mm.);  Th.  y8  in.  (3.17  mm.)' 
Purchased,  1910.  Formerly  in  the  Marlborough  Collection' 
cf.  Story-Maskelyne,  Cat.  of  the  Marlborough  Collection,  109 
No.  662.  Mentioned,  Museum  Bulletin,  1910,  p.  276.  Convex 
on  both  sides.  Acc.  No.  10.131.1. 


II.  Cameos  and  Work  in  the  Round 

459  Sardonyx:  opaque  white  on  transparent  brown, 
A  dead  Amazon  supported  by  her  comrade,  with  a  horse 
standing  by.  The  helmet  of  one  Amazon  is  cleverly 
worked  in  a  sard  layer.  The  workmanship  is  fine  and  de¬ 
tailed,  but  probably  not  ancient,  since  certain  features 


210  CATALOGUE  OF  ENGRAVED  GEMS 

such  as  the  treatment  of  the  drapery  and  the  modeling  of 
the  horse,  suggest  a  modern  hand;  contrast,  e.  g.,  the 
treatment  of  the  horse  on  No.  326. 

For  a  similar  composition  on  an  undoubtedly  modern 
gem,  cf.  Murray-Smith,  Cat.  of  Engraved  Gems  in  the 
Brit.  Mus.,  No.  2294. 

y2  in.  x  %  in.  (12.7  mm.  x  15.87  mm.);  Th.  %  in.  (4.76  mm.). 
Purchased,  1910.  From  the  Marlborough  Collection.  De¬ 
scribed  (as  ancient)  by  Story-Maskelyne,  Cat.  of  the  Marl¬ 
borough  Collection,  No.  326,  and  published  by  Furtwangler,  A. 
G.,  pi.  Ixv,  41,  and  in  The  Marlborough  Gems,  I,  pi.  48  (there 
illustrated  in  a  beautiful  engraving  by  F.  Bartolozzi,  which  is 
here  reproduced  on  pi.  85))  Mentioned,  Museum  Bulletin,  1910, 
p.  276.  Acc.  No.  1 0.13 1. 4. 

460  Sardonyx:  opaque  yellowish  on  transparent 
brown.  Heads  of  Europa  and  the  bull  in  high  relief. 
Good  work,  but  probably  not  antique. 

The  treatment  is  quite  different  from  that  on  ancient 
representations  of  this  subject,  where  Europa  appears 
either  riding  on  the  back  of  the  bull  or  floating  by  his 
side  (cf.  references  listed  under  No.  201). 

%  in.  x  iVs  in.  (22.62  mm.  x  34.92  mm.);  Th.  %  in.  (1548 
mm.).  Purchased,  1911.  Said  to  be  from  Catania.  From  the 
collection  of  Sir  Arthur  J.  Evans.  Published,  Catalogue  of  An¬ 
cient  Greek  Art,  Burlington  Fine  Arts  Club,  1904,  No.  O,  51, 
pi.  cxii,  p.  244;  mentioned,  Museum  Bulletin,  1912,9.98.  Acc. 
No.  1 1. 195.4. 

461  Sardonyx:  opaque  yellowish  on  transparent 
brown.  Europa  seated  on  the  bull  galloping  through  the 
waves.  The  treatment  throughout  is  very  different 
from  the  antique;  for  an  antique  rendering  of  this  subject 
on  an  engraved  gem  in  this  collection,  cf.  No.  201 . 

The  rape  of  Europa  is  a  not  uncommon  subject  both  on 
ancient  gems  and  on  modern  reproductions  from  the  an¬ 
tique.  For  a  list  of  such  cf.  Stephani,  Compte-rendu, 


Plate  88 


463 


POST-CLASSICAL  PERIODS 


21  I 


1866,  pp.  1 10  ff.;  a  number  more  could  of  course  now  be 
added. 

%  in.  x  M  in.  (13.89  mm.  x  19.05  mm.);  Th.  %  in.  (6.75  mm.). 
Gift  of  William  H.  Pell,  1887.  Unpublished.  The  head  of 
Europa  is  broken  off.  Acc.  No.  87.14. 

462  Sardonyx:  opaque  white  and  yellow  on  a  trans¬ 
parent  yellowish  ground.  Bearded  Seilenos  mask,  in  full 
front.  Poor  work,  evidently  copied  from  such  masks  as 
Babelon,  Cat.  des  Camees  de  la  Bib.  Nat.,  pi.  xi,  105  ff. 

%  in.  x  %  in.  (13.49  mm.  x  10.32  mm.);  Th.  %  in.  (2.38  mm.). 
King  Collection,  No.  193.  Unpublished.  Chipped  along  the 
edge.  Acc.  No.  81.6.259. 

463  Sardonyx:  opaque  white  on  transparent  brown, 
set  in  a  ring  of  seventeenth-  to  eighteenth-century  style. 
Bust  of  a  boy  in  profile  to  left.  The  misunderstood 
treatment  of  the  chlamys  betrays  the  modern  hand. 

%  in.  x  3%  in.  (17.46  mm.  x  13.1  mm.);  Th.  %,  in.  (3.97  mm.). 
King  Collection,  No.  278.  Unpublished.  Acc.  No.  81.6.260. 

464  Sardonyx.  Head  in  the  round  of  a  woman  wear¬ 
ing  her  mantle  drawn  over  her  head;  the  face  is  worked 
in  the  white  layer,  the  mantle  in  the  brown.  Careful 
but  uninspired  work.  The  face  is  in  classicist  style,  but 
the  treatment  of  the  mantle  as  a  knotted  veil  betrays  the 
modern  hand. 

Ht.  1%  in.  (29.37  mm.);  W.  %  in.  (21.43  mm.);  Th.  %  in. 
(24.21  mm.).  Purchased,  1896.  Acc.  No.  G.  R.  1193. 


INDEX 


ABBREVIATIONS 


arch. 

Etr. 

Etr.  It. 

Gr.P. 

Gr.  Ph 

Gr.R. 

Gr. 

Hel. 
Hel.  It. 
Min. 
p.  c. 

R. 


archaic. 

Etruscan. 

Etruscanizing  Italic. 

Graeco-Persian. 

Graeco-Phoenician. 

Graeco-Roman. 

Greek. 

Hellenistic. 
Hellenizing  Italic. 
Minoan. 
post-classical. 
Roman. 


INDEX 


A 

Achilles,  on  Etr.  gems,  32:  and 
Ajax,  Etr. It.,  70:  and  Tro'ilos, 
in  Gr.  art,  160;  seizing  Troi'Ios, 
Gr.R.,  160-161. 

Actor,  comic,  Gr.R.  or  Hel.,  136. 

Actors,  on  gems,  Gr.R.,  90,  Hel. 
It.,  75. 

Agate,  7-10,  15,  20-21,  24,  50-51, 
54,  72;  description  of,  lvii; 
magical  properties  of,  xxix;  use 
of,  for  gems,  ancient,  lvii-lviii, 
arch.,  18,  Etr.,  32,  Etr.lt.,  6g, 
Gr.P.,  50,  Gr.R.,  91,  Gr., 
V-IV  cent.  B.C.,  38,  Hel.,  60, 
Hel. It,  74:  banded,  9,  14,  33, 

44.  47.  53.  55-56,  72-73,  78, 
102,  107,  1 19,  133,  196-197, 
201;  description  of,  lvii:  jas- 
pery,  184:  moss,  23;  description 
of,  lvii. 

Agon  of  Pentathlon  (?),  per¬ 
sonification  of,  1 34- 1 3  5. 

Ajax,  on  Etr.  gems,  32:  and  Achil¬ 
les,  Etr. It.,  70;  on  Athenian 
vases,  70:  and  Kassandra,  p.c., 
196-197. 

Alekto,  p.c.,  200-201. 

Alexander  the  Great,  head  of, 
cameo,  Gr.R.,  161-162,  p.c., 
201-202;  head  of,  as  Herakles, 
Hel.,  66. 

Almandine  Garnet,  see  Garnet, 
almandine. 

Altar,  on  gems,  Gr.R.,  100,  118- 
119,  134,  142,  149-150,  Hel. It., 
84-85,  later  R.,  172,  185,  p.c., 

1 9 1 ,  196,  207-208;  wreathed, 


with  bird  on  either  side,  Gr.R., 
1 49- 1 50. 

Amazon,  dead,  with  comrade  and 
horse,  cameo,  p.c.,  209-210. 

Amazons  and  Greeks,  groups  of, 
as  source  of  gem  design,  160. 

Amethyst,  47,  80,  105,  115,  128- 
129,  186,  197-198;  description 
of,  lviii;  magical  properties  of, 
xxix;  use  of,  for  gems,  ancient, 
lviii,  Gr.R.,  88,  91,  Hel.,  60, 
Hel.  It.,  74. 

Amphora,  Hel. It.,  82-83. 

Amulets,  gems  as,  in  later  R. 
period,  167;  grylloi  as,  against 
evil  eye,  143. 

Amymone,  kneeling,  p.c.,  197. 

Animals,  on  gems,  arch.,  18-19, 
Etr.,  56-58,  Gr.P.,  50-51, 
Gr.R.,  137-14 2,  164-165,  Gr., 
V-JV  cent.  B.C.,  39,  43-44,  47, 
VII  cent.  B.C.,  14-15,  Hel., 
61,  Hel. It.,  75,  80-82,  Min., 
7-10,  p.c.,  208-209. 

Ant,  Gr.R.,  140;  in  field  of  Gr.R. 


gem,  1 14. 

Antaios,  Herakles  and,  (?), 
cameo,  Gr.R.,  161,  p.c.,  195. 

Antinous  (?),  as  source  of  gem  de¬ 
sign,  104-105. 

Antiocheia  with  Orontes,  For- 
tuna  and  warrior  on  either 
side,  later  R.,  (2),  177-178; 
statue  of,  by  Eutychides,  as 
source  of  gem  design,  169,  177. 

Antium,  Fortuna  of,  (?),  on 
Gr.R.  gem,  1 14. 

Antonia  (?),  portrait  of,  on  Gr.R. 
gem,  131-132. 


215 


21 6 


INDEX 


Aphrodite,  Anadyomene,  type  of, 
1 56;  armed,  leaning  against  pil¬ 
lar,  Gr.R.,  101-102;  armed, 
see  also  Venus  Victrix;  figures 
from  circle  of,  on  Gr.R.  gems, 
90;  Gr.,  V  cent.  B.C.,  40-41; 
holding  a  fan,  Hel.,  63;  on 
gems,  Gr.R.,  92,  101-102, 

156,  Gr.,  V-1V  cent.  B.C.,  39, 
44-45,  Hel.,  61-63,  Hel. It.,  75; 
supporting  her  arm  on  column, 
Hel.,  (2),  62-63:  and  Eros, 
cameo,  Gr.R.,  156;  Gr.,  IV 
cent.  B.C.,  44-45;  with  Apollo, 
p.c.,  201-202. 

Apollo,  bust  of,  p.c.,  190;  later 
R.,  1 7 1 ;  leaning  on  column, 
Gr.R.,  (2),  99;  on  Hel.  gems, 
61-62;  playing  lyre,  cameo, 
Gr.R.,  155,  Hel.,  61-62;  resting 
lyre  on  head  of  statuette,  Gr. 
R.,  98;  seated,  cameo,  Gr.R., 
155,  Gr.,  IV  cent.  B.C.,  46. 

Aquamarine,  191;  description  of, 
lix;  use  of,  for  gems,  ancient, 
lix,  Etr.  It.,  69. 

Archaic  Period,  gems  of,  16-29. 

Archaistic  Work,  on  gems,  Gr. 
R.,  90,  Gr.,  IV  cent.  B.C.,  46, 
Hel.,  59-60. 

Archemoros,  see  Opheltes. 

Archers,  on  arch,  gems,  18. 

Ares,  armed,  Gr.R.,  101;  (?), 
later  R.,  174. 

Argos  (?),  Etr.lt.,  71-72;  on 
Etr. It.  gems,  70. 

Ariadne,  Dionysos  and,  in  char¬ 
iot,  cameo,  Gr.R.,  157-158. 

Aristophanes,  writings  of,  re¬ 
ferred  to,  xix,  xxviii-xxix,  20, 
37- 

Arta,  gem  from,  7-8. 

Athena,  bust  of,  cameo,  Gr.R., 
155-156;  head  of,  p.c.,  191- 
192;  helmeted  head  of,  en¬ 
graved  by  Rega,  p.c.,  19 1,  (?), 
later  R.,  173;  holding  butter¬ 
fly  over  altar,  p.c.,  191;  hold¬ 
ing  human  head,  later  R.,  172, 
type  of,  172;  later  R.,  (2),  173; 
pouring  libation,  Gr.R.,  100; 
seated,  weapons  by  her  side, 
p.c.,  190-19 1 ;  standing,  armed, 
later  R.,  1 72-1 73;  winged,  Etr., 
V  cent.  B.C.,  54-55:  and  For- 


tuna,  later  R.,  173:  and  Hermes 
with  Hera,  later  R.,  170-171. 

Athenaeus,  writings  of,  referred 
to,  xxvi-xxvii. 

Athens,  gem  said  to  be  from,  138. 

Athletes,  on  gems,  arch.,  18, 
Gr.Ph.,  34,  Hel. It.,  75. 

Attic  Calendar,  Sagittarius  rep¬ 
resented  on,  24. 

Augustan  Gems,  see  Graeco- 
Roman  Gems,  Augustan  and 
early  imperial. 

Augustus,  effect  of  reign  of,  in 
art,  87;  head  of,  cameo,  Gr.R., 
162. 

Aulus,  signature  of,  forged,  205. 

B 

Bear,  in  Gr.  art.  5 1 ;  on  Gr.P.  gem, 
50. 

Bearded,  Ares,  101;  Dionysos, 
108;  face,  helmet  with  vizor 
in  form  of,  78;  Hades,  28-29; 
head,  93,  127,  129-130,  172, 
184-185,  204-205;  Herakles, 
29,  65,  120;  Hermes,  21,  78; 
man,  164;  Marcus  Junius 
Brutus,  127-128;  mask,  79-80, 
21 1,  in  gryllos,  144-146;  Pan, 
in. 

Bee,  on  gryllos,  146-147. 

Bellerophon,  on  Pegasos,  Gr.R., 
1 2 1 . 

Beryl,  use  of,  for  gems,  Gr.R., 
88,  Hel.,  60. 

Besa,  on  Gr.Ph.  gems,  34. 

Betrothal  Ring,  Gr.R.,  xxvii, 
150. 

Biga,  on  Gr.R.  cameo,  159. 

Bird,  as  attribute  of  Hermes,  21; 
flying,  Gr.R.,  141;  on  gems, 
arch.,  21,  Etr. It.,  73,  Gr.R., 
114,  1 19,  1 4 1— 1 42,  149-150, 

Gr.,  V-IV  cent.  B.C.,  41,  44-45, 
Hel. It.,  86,  later  R.,  185, 

p.c.,  195,  208;  on  gryllos,  145; 
sitting  on  branch,  in  field  of 
Gr.R.  gem,  141 :  see  also  Crane, 
Eagle,  Heron,  Parrot,  Peacock. 

Birds,  on  Gr.  gems,  V-IV  cent. 
B.C.,  41;  Stymphalian,  on 
p.c.  gem,  195. 

Boar,  attacked  by  hound,  Hel. It., 
81;  eagle  standing  on  head  of, 


INDEX 


140-141;  on  gems,  arch.,  18, 
Gr.P.,  50-51;  on  Roman  coins, 
81;  parts  of,  on  grylloi,  79, 
144-145. 

Bonus  Eventus,  Gr.R.,  116-117; 
in  Roman  art,  1 17. 

Borders,  omitted  in  Ionian  gems, 
50;  on  gems,  Etr.,  32,  Gr., 
V-IV  cent.  B.C.,  39:  see  also 
Cable  borders. 

Boy,  bust  of,  cameo,  p.c.,  2 1 1 ; 
Gr.R.,  (2),  136;  portrait-head  of, 
of  Julio-CIaudian  period,  129. 

Branch,  as  attribute  of  Apollo,  98- 
99,  171,  of  Athena,  171-172,  of 
Bonus  Eventus,  117,  of  cen¬ 
taur,  24,  182,  of  Nemesis, 

115-116,  180-181,  of  Nike, 

118- 119,  1 59»  181,  of  sphinx, 

55,  of  siren,  124,  of  Telephos, 

1 19- 120;  as  weapon  of  Her- 
akles,  23;  on  gems,  arch.,  23- 
24,  Etr.,  55,  Gr.R.,  98-99,  105, 
115-120,  124,  1 34—  1 35,  1 4 1, 
1 5 1,  159,  Hel.lt.,  77,  later  R., 
171-172,  180-182,  p.c.,  198,206. 

Brutus,  M.  Junius,  head  of,  Gr. 
R.,  127-128;  p.c.  gem  design 
resembling  portraits  of,  202- 
203;  type  of,  on  coins,  127-128. 

Bull,  and  goats,  Gr.R.,  138;  creep¬ 
ing  out  of  snail  shell,  on  Gr.R. 
gems,  139-140;  Europa,  seated 
on,  on  p.c.  cameo,  210;  grazing, 
Gr.R.,  (2),  138;  heads  of  Eu¬ 
ropa  and,  on  p.c.  cameo,  210; 
lion  attacking,  on  Gr.  gem, 
VI 1  cent.  B.C.,  14,  on  p.c. 
gem,  208-209;  'y'ng  down,  Etr., 
V-IV  cent.  B.C.,  56,  Min., 
(2),  7-8;  on  arch,  gems,  18; 
preparing  to  toss,  Gr.R.,  137; 
running,  Etr.,  V-IV  cent.  B.C. 

56,  Hel.lt.,  80-81. 

Bust,  see  Portrait-bust. 

Busts,  male  and  female,  with 
eagle,  later  R.,  185;  two,  female, 
with  bust  of  child,  later  R.,  186. 

Butterfly,  on  gems,  118,  150, 
p.c.,  191. 

C 

Cable  Border,  14-15,  19-20, 

22-24,  26,  33,  40-41,  44,  53-56, 


217 

73,  76,  no,  133,  137,  195-196, 
201;  use  of,  in  Min.  period,  18: 
double,  23. 

Caduceus,  see  Kerykeion. 

Caesar,  Julius,  attributes  of, 
129;  (?),  portrait-bust  of,  Gr. 
R.,  128-129,  p.c.,  202;  por¬ 
traits  of,  on  Gr.R.  gems,  90; 
seal  of,  101-102. 

Caligula  (?),  portrait-bust  of, 
cameo,  Gr.R.,  162-163. 

Cameos,  decorated  with  inscrip¬ 
tions,  168,  188;  Gr.R.,  91,  1 54— 
166;  Hel.,  66-67;  introduction 
of,  60-61;  later,  R.,  168,  188; 
p.c.,  209-211,  unknown  in 

Hel. It.  gems,  74. 

Campania,  Hel.  It. style  in,  changes, 
83,  origin,  74. 

Candelabrum,  in  field  of  Gr.R. 
gem,  108-109. 

Cap,  Phrygian,  on  Gr.R.  gem,  184. 

Capaneus,  see  Kapaneus. 

Cappadocia,  gem  from,  66-67. 

Capricorn,  Gr.R.,  125;  later  R., 
183;  on  gems,  ancient  and 
Gr.R.,  103. 

Carbuncle,  173. 

Carnelian,  8,  19,  22,  26-27,  29> 

40- 41,  46-47.  54-55.  57-58. 
70-72,  76,  78-82,  84-85,  93- 
95,  97-98,  1 02- 1 04,  106-109, 

1 1 1  — 1 1 5,  118-121,  1 23—12  5, 

127-134,  136-142,  144-147, 

150,  154,  169-173,  175-176, 

179-181,  184-185,  187,  190- 
192,  195-200,  202-209;  de¬ 

scription  of,  Iv;  inscribed, 
Gr.R.,  1 54;  use  of,  for  gems,  an¬ 
cient,  Iv-lvi,  arch.,  18,  Etr., 
32,  52,  Etr. It.,  69,  Gr.Ph.,  34, 
Gr.R.,  88,  91,  Gr.,  V-IV  cent. 
B.C.,  38,  Hel.,  60,  Hel. It.,  74, 
It.,  I  cent.  B.C. ,83:  banded,  63. 

Cassandra,  see  Kassandra. 

Castor  and  Pollux,  see  Dios- 
kouroi. 

Centaur,  carrying  branch,  Gr.R., 
182;  shooting,  arch.,  24. 

Cerberos,  see  Kerberos. 

Cesnola,  General  L.P.  di,  col¬ 
lection  of,  vi,  14-15,  19-30, 

41- 44,  46-48,  99,  102-103, 

107-108,  118-119,  125,  131, 
140-141,  I47-I49>  i5i-'53. 


2  I  8 


INDEX 


162,  165,  172-175,  178-183, 
1 86- 1 87. 

Chair,  on  gems,  Gr.R.,  135,  Gr., 
V-IV  cent.  B.C.,  39,  45,  Hel. 
It.,  84. 

Chalcedony,  10,  14,  21,  25,  28-29, 
43-44.  94.  117.  120,  146-147, 
165-166,  1 7 1 ,  182,  188,  1 9 1  — 
192,  196,  203,  206;  description 
of,  lv-lviii;  use  of,  for  gems,  an¬ 
cient,  lv-lviii,  arch.,  18,  de¬ 
crease  in,  60,  Etr.  It.,  69, 
Gr.P.,  50.  Gr.Ph.  34,  Gr.R., 
88,  91. 

Chariot,  on  gems,  Gr.R.,  118, 
157,  164,  later  R.,  171;  three 
figures  in,  cameo,  Gr.R.,  164. 

Child,  bust  of,  on  later  R.  gem, 
186;  caressing  hound,  Gr., 
V  cent.  B.C.,  41;  head  of, 
Gr.R.,  133;  portrait-head  of, 
Gr.R.,  132-133. 

Chisel,  sharp,  use  of,  167. 

Chiton,  on  figures  represented  on 
gems,  21,  28,  66,  71,  119,  176, 
190-191. 

Chlamys,  on  figures  represented 
on  gems,  21,  71-72,  99,  104- 
106,  120-121,  133,  135,  204, 
21 1 ;  misunderstood  treatment 
of,  on  p.c.  gem,  21 1. 

Chrysolite,  see  Peridot. 

Cicero,  on  Gr.R.  gems,  90;  writ¬ 
ings  of,  referred  to,  xx,  xxiii. 

Classicist  style,  87-88. 

Claudius,  portrait-head  of,  Gr.R., 
163,  p.c.,  203. 

Cock,  on  arch,  gems,  18;  on 
gryllos,  145-146. 

Coins,  design  of,  in  connection 
with  gems,  xxiv,  17,  29,  39, 
41-42,  66,  74-75,  80-82,  85, 
94,  96,  101,  113-118,  123, 

128-129,  '31-132,  148,  162, 

174,  177-178,  180-18 1,  183— 
184,  1 88,  203-204. 

Column,  on  gems,  Etr. It.,  71,  73, 
Gr.R.,  99-102,  105,  107,  135, 
148,  Hel.,  62,  Hel.  It.,  84,  later 
R.,  171-172,  Min.,  9,  p.c., 
19 1,  206. 

Combat,  between  horsemen  and 
warriors,  the  Dioskouroi  at 
the  Battle  of  Regillos  (?), 
Hel. It.,  76. 


Cone,  eight-sided,  21;  use  of,  for 
Gr.P.  gems,  50. 

Constantine,  gems  in  era  of,  167. 

Constellations,  Capricorn,  183; 
in  Gr.  art,  24;  Sagittarius,  24; 
Sirius,  139. 

Contests  of  Persians  and 
Greeks,  on  Gr.P.  gems,  50. 

Copying  of  ancient  gems,  189. 

Cornucopia,  as  attribute  of  Deme¬ 
ter,  96-98,  of  Fortuna,  1 1  5,  169, 
173,  178-179,  of  Harpokrates, 
159,  of  river-god,  1 1 5 ;  on 
gems,  Gr.R.,  96-98,  115,  150, 
159,  later  R.,  169,  173,  178- 
179,  184;  with  rudder  and 

globe,  Gr.R.,  150. 

Cow,  lying  down,  Min.,  8;  with 
calf,  Gr.R.,  (2),  138,  Gr.,  VII 
cent.  B.C.,  15,  Min.,8-9. 

Cows,  lying  down,  Min.,  9;  with 
tree,  Hel. It.,  82. 

Crab,  Gr.R.,  142;  in  field  of  Gr.R. 
gem,  143. 

Crescent,  on  gems,  Etr. It.,  72- 
73,  Hel. It.,  80,  later  R.,  184. 

Crimea,  gem  said  to  be  from,  140. 

Crispina,  coins  of,  as  basis  of 
dating  gem,  184. 

Crocus,  on  Min.  gem,  8. 

Crook,  on  later  R.  gems,  186-187. 

Crystal,  rock,  64-65,  126,  192; 
description  of,  lviii;  use  of,  for 
gems,  ancient,  lviii,  arch.,  18, 
Gr.P.,  50,  Gr.R.,  91,  Gr.,  V- 
IV  cent.  B.C.,  38,  Hel.,  60. 

Cuirass,  on  gems,  Etr.lt.,  70, 
Gr.R.,  101-102,  133,  163, 

later  R.,  172,  174,  p.c.,  207. 

Cumae,  gem  said  to  be  from,  125. 

Cybele,  see  Kybele. 

Cylinder,  hematite,  p.c.,  192- 
195;  use  of,  for  Gr.P.  gems,  50. 

Cymbals,  in  parrot’s  beak,  on 
Gr.R.  gem,  141. 

Cyprus,  gem  from,  14-15,  19- 
30,  41-44,  46-48,  99,  102-103, 
107-108,  118-119,  '25,  131, 
140-141,  147-149,  151-153. 

162,  165,  1 72—1 75,  178-183, 
186-187. 

D 

Daidalos,  on  Etr. It.  gems,  70. 

Daily  Life,  scenes  from,  on 


INDEX 


219 


gems,  arch.,  22,  25-27,  Etr., 
52-53.  57-58,  Etr.lt.,  71-72, 
Gr.P.,  50,  Gr.R.,  90,  133-136, 
164-165,  Gr.,  V-IV  cent.  B.C., 
39-41,  45-46,  Hel.lt.,  75-76, 
83-84,  later  R.,  168,  186-187, 
p.c.,  206-208. 

Daktyliothekai,  xxxi,  88. 

Dancing  Girl,  see  Girl,  dancing. 

Daphnis,  Pan  and,  Gr.R.,  1 10— 

Decoration  on  Etr.  gems,  32. 

Deer,  as  attribute  of  the  Ephesian 
Artemis,  172;  on  gems,  arch., 
18,  Gr.R.,  137,  Gr.,  V-IV 
cent,  B.  C.,  47:  see  also  Stag. 

Deities,  on  gems,  arch.,  21,  27- 
29,  Etr.,  54-56,  Etr. It.,  72, 
Gr.R.,  90,  93-119,  154-160, 

Gr.,  V-IV  cent.  B.C.,  41-42, 
44-46,  Hel.,  61-65,  Hel.lt., 
77-78,  83-85,  later  R.,  168- 
183,  p.c.,  190-195. 

Demeter  (?),  Gr.R.,  (2),  97-98; 
statue  of,  in  chariot,  Gr.R., 
(2),  96-97. 

Demon  (Skylla?),  Etr.,  V— 1 1 1  cent. 
B.C.,  58. 

Demosthenes,  on  Gr.R.  gems,  90. 

Developed  Gr.  styles,  gems  of, 
36-48. 

Dexamenos,  38. 

Diamond,  magical  properties  of, 
xxix;  point,  use  of,  li. 

Diana  of  the  Ephesians,  see 
Artemis,  the  Ephesian. 

Dio  Cassius,  writings  of,  referred 
to,  xxi-xxiv. 

Dionysios  of  Smyrna,  gem  of, 
179-180. 

Dionysos,  as  boy,  Gr.R.,  107; 
bearded  head  of,  Gr.R.,  108; 
Gr.,  IV  cent.  B.C.,  46-47; 
on  gems,  Gr.R.,  92,  107-108, 
157-158,  Hel.,  61,  Hel.lt.,  75; 
with  panther,  Gr.R.,  107; 
and  Ariadne,  cameo,  Gr.R., 
157-158:  and  nymph,  cameo, 
Gr.R.,  158. 

Dioskourides,  92. 

Dioskouroi  at  the  Battle  of 
Regillos,  (?),  on  Hel. It.  gem,  76. 

Dog,  crouching,  Etr.,  IV  cent. 
B.C.,  58;  head  of,  Sirius,  Gr.R., 
139;  lying  down,  cameo,  Gr.R., 


165;  on  gems,  arch.,  25,  Gr.R., 
135,  139,  165,  Gr.,  V-IV  cent. 
B.C.,  41,  44,  Hel. It.,  81,  Min., 
9;  part  of,  on  gryllos,  79;  sleep¬ 
ing,  Gr.,  V  cent.  B.C.,  44: 
see  also  Hound. 

Dolphin,  and  trident,  Gr.R.,  142, 
p.c.,  209;  on  gems,  Gr.R.,  103- 
104,  later  R.,  175. 

Domitian,  portrait  resembling,  on 
p.c.  gem,  203. 

Donkeys,  creeping  out  of  snail 
shells,  on  Gr.R.  gems,  139- 
140. 

Drapery  on  Figures,  on  ancient 
gems,  27-28,  39-41,  44-45, 
50-51,  54-55,  61-66,  71-73, 
75,  84-86,  93,95-102,  104-109, 
1 12-122,  127-136,  155,  1 57— 
160,  163-166,  169-182,  184- 
186,  188,  on  p.c.  gems,  190- 
198,  201-202,  204-207,  209- 
2 1 1 :  see  also  Chiton,  Chlamys, 
Himation. 

E 

Eagle,  carrying  Ganymede,  Gr.R., 
12 1 ;  on  later  R.  gem,  170,  185; 
parts  of,  on  grylloi,  143-146; 
standing  on  boar’s  head,  Gr. 
R.,  140. 

Elektra  with  Orestes  (?),  statue 
of,  as  source  of  gem  design, 
206-207. 

Elephant,  creeping  out  of  snail 
shell,  Gr.R.,  139,  on  Gr.R. 
gems,  139-140;  in  classical  art, 
96-97;  parts  of,  on  grylloi,  144. 

Elephants,  drawing  chariot,  on 
Gr.R.,  gem,  96. 

Emerald,  200;  description  of, 
Iix;  magical  properties  of, 
xxix;  use  of,  for  gems,  ancient, 
Iix,  Gr.R.,  88. 

Eos,  Etr.,  V-IV  cent.  B.C.,  55; 
in  biga,  cameo,  Gr.R.,  159; 
on  red-figured  Athenian  vases, 
55- 

Epicurus,  on  Gr.R.  gems,  90. 

Eros,  as  funerary  genius,  156;  as 
subduer  of  Herakles,  157;  flying 
and  carrying  girl,  arch.,  27-28; 
flying  with  vase,  Gr.R.,  104; 
on  gems,  arch.,  27-28,  Gr.R., 


220 


INDEX 


104,  156-157,  Gr.,  V-IV  cent. 
B.C.,  39,  Hel.,  61,  Hel.lt.,  75, 
77-78,  later  R.,  175;  reading 
from  scroll,  Gr.R.,  102;  riding 
capricorn,  Gr.R.,  103;  riding 
dolphin,  Gr.R.,  103-104,  later 
R.,  175;  seated  on  cuirass, 

Gr.R.,  102;  with  torch,  cameo, 
Gr.R.,  156,  Gr.R.,  102;  with 
vase  and  skeleton,  Hel.lt.,  77- 
78;  with  weapons  of  Herakles, 
cameo,  Gr.R.,  157,  Hel.lt.,  77: 
see  also  Aphrodite  and  Eros: 
and  Psyche,  embracing,  cameo, 
Gr.R.,  157;  type  of,  in  Hel. 
and  R.  period,  157:  with  Apollo 
and  Aphrodite,  p.c.,  201-202: 
with  Nike,  Gr.R.,  118:  with 
Vena.s  Victrix,  on  later  R.  gem, 
>74- 

Erotes,  detail  ornament,  on  Gr.R. 
gem,  96;  sailing,  Gr.R.,  104; 
with  dolphin,  later  R.,  175; 
with  panther,  Gr.R.,  103;  with 
vase,  in  form  of  lyre,  Hel. It., 
78. 

Etruscan,  gems,  520-450  B.C., 
31-33-  450-300  B.  C„  52-58; 
style,  adopted  by  Romans,  68, 
archaic,  modern  imitation  of, 
196. 

Etruscanizing  Italic  gems,  68- 
73- 

Euphranor,  statue  by,  as  source 
of  gem  design,  1 17. 

Euripides,  writings  of,  referred  to, 
xx. 

Europa,  and  the  bull,  heads  of, 
cameo,  p.c.,  210,  swimming, 
Gr.R.,  122;  rape  of,  on  ancient 
gems,  122;  seated  on  bull, 
cameo,  p.c.,  210. 

Eutyches,  93. 

Eutychides,  influence  of  statue 
said  to  be  by,  on  gem  design, 
169,  177. 

F 

Falcon,  on  Gr.P.  gem,  50. 

Falerii,  gem  said  to  be  from,  53- 
54- 

Fan,  on  Hel.  gem,  63. 

Fates,  three,  (?),  youth  before, 
on  p.c.  gem,  198. 


Faustina  the  Elder,  coins  of,  as 
basis  of  dating  gems,  188. 

Faustulus,  on  Hel. It.  gems,  85- 

86. 

Female,  bust  with  helmet,  Gr.R., 

1 14;  figure,  later  R.,  186, 

winged,  arch.,  27;  head,  with 
wreath  and  wings,  Gr.R.,  119. 

Fern  Design,  Gr.R.,  149,  Gr., 
IV  cent.  B.C.,  48;  surrounded 
by  dots,  Gr.R.,  151;  with 
wreath,  Gr.R.,  151. 

Figure  Holding  Mantle,  Gr.R., 
165. 

Fisherman,  Hel. It.,  76;  on  Hel. 
It.  gems,  75. 

Flowers  and  Plants  on  Ancient 
Gems,  7-8,  14-15,62,  149-151: 
see  also  Branch,  Crocus,  Tree, 
Wheat  ears. 

Flutes,  double,  on  gems,  Gr.R., 
103-104,  later  R.,  175. 

Foot,  winged,  on  butterfly,  Gr.R., 
150. 

Forgeries,  detection  of,  xlvi- 
xlvii;  importance  of,  v-vi. 

Fortuna,  holding  cornucopia  and 
rudder,  later  R.,  (5),  179;  (?), 
later  R.,  179;  on  gems,  Hel. It., 
75,  later  R.,  168-169,  '73.  1 77— 
179;  representations  of,  in  R. 
times,  178;  with  attributes  of 
Isis,  in  R.  art,  1 1 5 :  and  Athena, 
later  R.,  173:  and  Zeus,  on  later 
R.  gem,  169:  of  Antium,  (?), 
on  Gr.R.  gem,  1 13-1 14. 

Fox,  on  Gr.P.  gem,  51. 

G 

Galene,  identification  of  Nereid 
on  gem  as,  by  Furtwangler, 
63-64. 

Ganymede,  carried  by  eagle,  Gr. 

R.,  12 1. 

Garnet,  80,  178-181,  183,  1 86— 
187,  202,  204;  description  of, 
lviii-lix;  use  of,  for  gems, 
ancient,  lviii-lix,  Gr.R.,  88, 
Hel.,  60:  almandine,  77,  139; 
description  and  use  of,  for 
ancient  gems,  lix:  en  cabochon, 
lix:  hyacinthine,  100,  129,  204- 
205;  description  and  use  of  for 
ancient  gems,  lix,  for  Gr.R., 


INDEX 


221 


88,  Hel.,  60:  pyrope,  99,  118, 
150,  179;  description  and  use 
of,  for  ancient  gems,  lviii: 
syriam,  see  pyrope. 

Gem,  engravers,  xxxv-xlv;  an¬ 
cient,  known  by  their  signa¬ 
tures,  xxxvii-xlii,  mentioned 
in  literature,  xxxvii;  Hel.,  61; 
names  of  owners  used  by  forg¬ 
ers  to  signify,  xlii;  names  of, 
used  by  forgers,  xlii;  of  XVI II 
and  XIX  cent.,  signatures  of, 
xlii-xlv;  signatures  of,  xxxv- 
xlv,  38,  92,  130:  engraving,  in 
Babylonia,  5;  in  Egypt,  5; 
technical  changes  in  Hel.  pe¬ 
riod,  60;  technique  of,  xlvii- 
liv,  arch.,  18,  Etr.,  52-53, 
geometric,  1 1,  Min.,  6:  un¬ 
finished,  li,  liii. 

Gems,  appreciation  of,  xxix-xxxv; 
arch.,  16-30;  archaistic,  46, 
60,  90;  as  amulets,  xxviii- 
xxix,  167;  as  index  of  develop¬ 
ment  of  art,  xvi-xvii;  as  orna¬ 
ments,  xxiv-xxviii,  53;  as  seals, 
xix-xxi,  17,  36-37,  69;  as  works 
of  art,  xv;  carved  in  the  round, 
92,  165-166,  168-169,  188,211; 
character  of  designs  on  an¬ 
cient,  xv-xvi;  collecting,  xxxi, 
88;  Etr.,  lii,  31-33,  52-58; 
Etr.  It.,  68773;  forgeries  of 
ancient,  xlvi-xlvii;  geometric, 

1 1  — 1 2 ;  Gr.P.,  vii,  49-51 ;  Gr.Ph. 
34-35;  Gr.R.,  87-166;  Gr.,  V- 
IV  cent.  B.C.,  36-48,  VII  cent. 
B.C.,  13-15;  Hel.,  59-67;  Hel. 
It.,  74-86;  It.,  1  cent.  B.C.,  83- 
86;  later  R.,  167-188;  materials 
used  for,  ancient,  liv-lxi,  arch., 
18,  Etr.,  32,  52,  Etr. It.,  69, 
Gr.P.,  50,  Gr.Ph.,  34,  Gr.R.,  88, 
Gr.  V-IV  cent.  B.C.,  38,  Hel., 
60,  Hel. It.,  74,  introduced  by 
Alexander  the  Great,  60,  later 
R.,  169,  Min.,  6;  method  of 
wearing,  in  arch,  period,  17, 
in  V-IV  cent.  B.C.,  36737, 
in  Min.  period,  7,  in  R.  period, 
xxvi-xxvii,  89;  perforated,  7- 

10, 37-38, 40-41, 43-44,  .50-51 ; 

period  of  use,  xvi-xvii;  p.c. 
period,  XVIII  and  XIX  cent., 
189-211;  Renaissance,  189; 


shape  of,  arch.,  16-17,  Etr., 
32,  52,  Etr. It.,  69,  geometric, 
11,  Gr.P.,  50,  Gr.Ph.,  34,  Gr. 
R.,  89,  Gr.,  V-IV  cent.  B.C., 
37-38,  VII  cent.  B.C.,  13-14, 
Hel.,  60,  Hel. It.,  74,  later  R., 
168,  Min.,  6;  subjects  repre¬ 
sented  on,  ancient,  xvii,  arch., 
18,  Etr.,  32,  53,  Etr.  It.,  69- 
70,  Gr.P.,  49-50,  Gr.Ph.,  34- 
35,  Gr.R.,  89-90,  Gr.,  V-IV 
cent.  B.C.,  39,  Hel.,  59-61, 
Hel. It.,  74-75,  It.,  I  cent. 
B.C.,  83,  later  R.,  168,  Min., 
6;  unengraved,  use  of,  168; 
value  of,  in  R.  times,  89. 

Geometric  Period,  gems  of, 

1 1 —12. 

Giant  with  Legs  Ending  in 
Serpents,  Gr.R.,  125. 

Girl,  dancing,  Gr.,  V  cent.  B.C., 
39-40,  with  stick,  Gr.,  V-IV 
cent.  B.C.,  45;  drawing  water, 
on  Hel.  gems,  66;  holding  jug, 
Hel.,  66;  portrait-busts  of  man 
and,  p.c.,  204-205;  portrait- 
head  of,  Gr.R.,  132;  seated  be¬ 
fore  image,  p.c.,  197;  washing 
her  hair,  arch.,  26. 

Glass  Paste,  description  of,  lxi; 
in  imitation  of  sardonyx,  91- 
92;  scarcity  of,  in  later  R.  pe¬ 
riod,  168;  substitution  of,  for 
stones,  in  Augustan  period,  89; 
use  of,  for  gems,  lxi,  arch.,  18, 
Etr. It.,  69,  Gr.P.,  50,  Gr.Ph., 
34,  Gr.R.,  91,  Gr.,  V-iV  cent. 
B.C.,  38,  Hel.,  60,  Hel. It.,  74, 
It.,  I  cent.  B.C.,  83:  black,  58; 
with  white  band,  140-141: 
blue,  57,  63-64,  76,  85-86,  1 1 7, 
132,  138,  161,  163-164;  on 

brown,  163;  turquoise,  159, 
164;  with  white  band,  136: 
brown,  58,  61-63,  75_77>  96, 
130,  134;  on  white,  162:  color¬ 
less,  46,  105-106,  134:  green, 
66,  100,  151;  with  blue  band, 
84;  with  blue  and  white  bands, 
102,  1 10,  135:  purple,  65,  82; 
100,  106-107,  '5°>  '54“'55. 

with  white  band,  1 19:  white, 
155-157;  on  black,  160-161, 
164;  on  blue,  157-159,  1 64— 
165;  on  brown,  155-156;  on 


222 


INDEX 


purple,  158,  161,  165;  on  yellow, 
155-156,  165:  yellow,  56-57, 
73,  104,  122,  163;  on  blue, 
163. 

Globe,  on  Gr.R.  gem,  150. 

Gnaios,  gem  by,  130;  signature  of, 

1 30—1 3 1 ,  forgery  of,  197-198. 

Goat,  horns  of,  head  with,  on  later 
R.  gem,  172;  on  gems,  Gr.R., 
111,  later  R.,  186;  Pan  and, 
butting,  Gr.R.,  111;  part  of, 
on  gryllos,  145;  Satyr  and,  on 
Etr.  gem,  450-300  B.C.,  55- 
56;  with  grasshopper  on  its 
back,  Hel.lt.,  81. 

Goddess  (Fortuna  or  Demeter), 
seated,  Gr.R.,  98. 

Gold,  see  Rings,  gold,  and  Settings, 
gold. 

Graeco-Persian  gems,  vn,  49-51. 

Graeco-Phoenician  gems,  34-35- 

Graeco-Roman,  art,  character  of, 
87-88;  gems,  Augustan  and 
early  imperial,  cameos,  154- 
166,  intaglios,  93-1 54. 

Grasshopper,  on  back  of  goat, 
on  Hel.lt.  gem,  81;  on  Gr.P. 
gem,  50-51;  on  gryllos,  146- 
1 47- 

Greau,  Julien,  collection  of, 
vi-vii,  46,  56-58,  61-65,  73, 
75-76,  82-86,  96,  100,  102, 
104-107,  1 10,  1 17,  122,  130, 
132,  134-136,  138,  140-141, 

1 50,  1 54-161,  163-165. 

Greek,  art,  ascendancy  of,  in 
Augustan  epoch,  87;  charac¬ 
teristics  of,  arch.,  16,  V-1V 
cent.  B.C.,  36-39,  geometric, 

1 1,  Hel.,  59-62,  VI 1  cent.  B.C., 
13;  influence  of,  on  Persia,  49; 
revival  of,  in  VI  cent.  B.C., 
16:  head  of,  bald,  bearded, 
Gr.R.,  127,  (Sokrates?),  Gr.R., 
127. 

Griffin,  as  attribute  of  Nemesis, 
1 16;  biting  deer,  Gr.,  IV  cent. 
B.C.,47;  Etr.,  V-1V  cent.  B.C., 
56-57;  Min.,  10;  origin  of, 
10. 

Grylloi,  as  amulets,  143;  deriva¬ 
tion  of,  1 42-1 43;  on  gems,  early 
Carthaginian,  34-35,  Gr.R., 
91,  142-147.  Hel. It.,  75,  79. 

Guilloche,  use  of,  18. 


H 

Hades,  identification  of,  with 
Serapis,  65;  seizing  Persephone, 
arch.,  28-29. 

Hair-pin,  in  field  of  Gr.R.  gem, 
130. 

Hammer,  on  Etr.lt.  gem,  71. 

Hands,  clasped,  with  wheat  ears 
and  flowers,  Gr.R.,  150. 

Hares,  creeping  out  of  snail  shells, 
on  Gr.R.  gems,  139-140. 

Harpokrates,  cameo,  Gr.R.,  159- 
160. 

Head,  female,  Gr.R.,  164;  human, 
p.c.,  206:  see  also  Portrait- 
head. 

Heads,  bearded,  on  bust  (Janus?), 
Ill  cent.  A.  D.,  184;  ideal, 
on  p.  c.  gems,  205-206. 

Helios,  attributes  of,  combined 
with  others  in  pantheistic 
head,  94-95;  holding  sceptre 
and  whip,  Gr.R.,  99-100;  in 
chariot,  Gr.R.,  171. 

Heliotrope,  99-100,  1 74— 1 75 

use  of,  for  later  R.  gems,  168. 

Hellenistic,  art,  influence  of,  on 
Roman,  89-90;  period,  1 11-11 
cent.  B.  C.,  gems  of,  59-67. 

Hellenizing  Italic  gems,  74-86. 

Helmet,  Herakles  with,  in  ancient 
art,  23;  on  gems,  arch.,  23, 
Etr.,  33,  54,  57,  Etr. It.,  70^71, 
Gr.R.,  101-102,  1 14,  133,  155“ 
156,  Hel. It.,  76,  78-79,  later 
R.,  172-175,  p.c.,  191,  197. 
202,  209-210;  with  inscription 
in  field,  Hel.  It.,  79,  with  vizor 
representing  face  of  bearded 
man,  Hel.lt.,  7C-79- 

Hematite,  i 92—195 ;  description 
of,  Ix-lxi;  magical  properties 
of,  xxix;  use  of,  for  ancient 
gems,  lx-lxi. 

Hera,  bust  of,  It.,  I  cent.  B.C., 
83-84:  with  Hermes  and  Athena, 
later  R.,  170-171. 

Herakles,  bearded  head  of,  Gr.R., 
120,  Hel.,  (2),  65,  type  of,  in¬ 
fluenced  by  Lysippos,  65,  with 
club  and  bow,  arch.,  29;  Eros 
with  weapons  of,  Hel. It.,  77; 
head  of  Alexander  the  Great  as, 
66;  on  gems,  Etr.,  52-53,  Hel. 


INDEX 


223 


It.,  75;  shooting,  p.c.,  196, 
Stymphalian  birds,  p.c.,  195; 
type  of,  introduced  in  IV  cent. 
B.C.,  120;  weapons  of,  23; 

with  helmet,  23:  and  Antaios, 
(?),  cameo,  Gr.R.,  161,  p.c., 
195:  and  centaurs,  23:  and 
Telephos,  Gr.R.,  120,  in  class¬ 
ical  art,  120:  and  lion,  (?), 
arch.,  23,  Etr.,  V  cent.  B.C., 
(2),  53-54.  later  R.,  183. 

Heraldic  grouping  of  animals, 

9-10,14-15,19 

Herculaneum,  bronze  Hermes 
from,  as  source  of  gem  design, 
105-106. 

Hercules,  see  Herakles. 

Herm,  man  measuring,  Etr. It., 
72;  of  Hypnos,  Hel.lt.,  84; 
of  Priapos,  Gr.R.,  1 1 2 . 

Hermaphrodite,  on  Hel.  gems, 
61. 

Hermes,  as  god  of  commerce, 

1 70-171;  as  shepherd  god,  175; 
bronze,  from  Herculaneum,  as 
source  of  gem  design,  105- 
106;  bearded,  21,  78;  bust  of, 
as  boy,  Gr.R.,  106,  wearing 
chlamys,  Gr.R.,  106,  with 
wings,  Gr.R.,  106;  head  of,  as 
boy,  Gr.R.,  106-107,  Hel. It., 
78;  Ionic  treatment  of,  2 1 ;  lean¬ 
ing  against  pillar,  Gr.R.,  105; 
of  Andros,  as  source  of  gem 
design,  104-105;  reviving  dead 
person  (?),  Etr.lt.,  72;  running, 
p.c.,  192;  sitting  on  rock,  Gr.R., 
105-106;  standing  by  stump, 
Gr.R.,  104-105;  with  bird, 
arch.,  21;  with  ram,  later  R., 
175-176;  with  Hera  and  Ath- 
.  ena,  later  R.,  1 70-1 71. 

Herodotus,  writings  of,  referred 
to,  xxix-xxx. 

Heroes,  on  gems,  arch.,  23,  29, 
Etr.,  32,  53-54.  Etr.  It.,  70-7'. 
Gr.R.,  1 19-122,  160-161,  Hel., 
65-66,  Hel. It.,  75-76,  p.c., 

195-197- 

Heron,  Gr.,  V  cent.  B.C.,  40-41. 

Herophilos,  93. 

Himation,  on  figures  on  gems,  28, 
61-62,  66,  84,  1 19.  169.  '76, 
190-191-  ... 

Hippalektryon,  as  possible  source 


of  gem  design,  145-146;  man 
riding,  arch.,  20;  origin  of,  20. 

Hippocamp,  and  trident,  Gr.R., 
125;  arch.,  20-21. 

Homer,  on  Gr.R.  gems,  90;  writ¬ 
ings  of,  referred  to,  124. 

Homeric  Legends,  on  Etr.  gems, 

32'  . 

Hoop,  as  toy  in  ancient  times,  136; 
on  Gr.R.  gem,  136. 

Horace,  writings  of,  referred  to, 
xix,  xxviii. 

Horai,  one  of,  on  Gr.R.  gem,  119. 

Horse,  falling  with  warrior,  p.c., 
207;  grazing,  later  R.  gem,  173; 
on  gems,  arch.,  18,  Gr.P., 
50-51,  Gr.R.,  136,  later  R., 
173,  p.c.,  207,  209-210;  pre¬ 
paring  to  lie  down,  Gr.,  V 
cent.  B.C.,  43. 

Horseman,  spearing  boar,  Gr.P., 
5°-51'  . 

Horsemen,  in  combat  with  war¬ 
riors,  on  Hel.lt.  gem,  76;  on 
gems,  arch.,  18,  Hel. It.,  70, 
75-76. 

Horses,  on  gems,  arch.,  25,  Gr.R., 
159,  later  R.,  171;  parts  of,  on 
grylloi,  145-146;  three  in  full 
front,  Etr.,  V-l  1 1  cent.  B.C.,  57. 

Horus,  in  Gr.  art,  160. 

Hound,  child  caressing,  on  Gr. 
gem,  V  cent.  B.C.,  41;  running, 
Gr.R.,  140. 

Human  Figure,  modeling  of,  18; 
representations  of,  in  Gr.  art, 
VI  cent.  B.C.,  16. 

Hunting  Scenes,  9,  50-51;  on 
gems,  Gr.P.,  50—5 ' ,  Hel. It., 
75,  Min.,  9. 

Hyacinth,  see  Garnet,  hyacin- 
thine. 

Hyacinthine  Garnet,  see  Garnet, 
hyacinthine. 

Hyena,  in  Gr.  art,  51;  on  Gr.R. 
gem,  51. 

Hygeia  and  Asklepios,  Gr.R., 
1 12. 

Hyllos,  93. 

Hypnos,  herm  of,  It.,  I  cent.  B.C., 
84. 

I 

Ibex,  and  dog,  Min.,  9;  parts  of, 
on  grylloi,  146-147. 


224 


INDEX 


Ibexes,  grouped  heraldically,  Gr., 
VII  cent.  B.C.,  14-15,  Min., 
9-10. 

Incense  Burner,  on  Gr.  ring,  V- 
IV  cent.  B.C.,  45-46. 

Inscriptions,  Arabic,  108;  cameo, 
168,  188;  Cypriote,  15,  108; 
Greek,  38,  43,  95-96,  98,  1 12, 
124,  130,  133,  1 51-154,  169— 
170,  175,  179-180,  183;  Latin, 
70-72,  79-81,  1 32-1 33,  135, 
139,  143,  154,  163,  176,  184— 
185;  on  gems,  arch.,  18,  Etr., 
32,  Etr. It.,  69,  Hel. It.,  74; 
p.c.,  133,  190-192,  196-198, 
200-201,  205,  207-209;  sig¬ 
natures,  of  artists,  130,  191, 
of  owners,  43,  72,  112,  132- 
133,  135,  154,  169,  176,  179- 
180. 

Ionia,  gems  showing  style  of, 
19,  21,  43-44,  50;  home  of  VI 
cent.  B.C.  revival  of  Gr.  art, 
16;  winged  Athena  in  art  of, 
54- 

Isidorus,  writings  of,  referred  to, 
xxvii. 

Isis,  bust  of,  p.c.,  192;  in  R.  art, 
170;  on  gems,  Hel.,  61,  Hel.lt., 
75;  standing  before  Serapis- 
Hades,  later  R.,  169-170: 

-Fortuna,  Gr.R.,  115. 

Isokrates,  writings  of,  referred 
to,  xix. 

Italic  Gems,  Etruscanizing  group, 
68-73;  Hellenizing  group,  74- 
86. 

J 

Janus  (?),  later  R.,  184. 

Jason  and  Cheiron,  p.c.,  196. 

Jasper,  description  of,  lvi;  use  of, 
for  gems,  ancient,  lvi,  arch.,  18, 
Gr.P.,  50,  Gr.,  V-1V  cent.  B.C., 
38,  Hel. It.,  74:  banded,  64: 
black,  26,  44,  123,  128,  1 3 1  — 
132,  137,  199:  green,  80-81,  use 
of,  for  Gr.Ph.  gems,  34:  red, 
9,  95-96,  1 1 1 —1 1 4,  121-122, 
142-144,  170,  173-175,  177— 
178,  183-184,  186-187;  use  of, 
for  gems,  Gr.R.,  88,  later  R., 
168:  yellow,  187;  use  of,  for 
later  R.  gems,  168. 


Josephus,  Flavius,  writings  of, 
referred  to,  xxi. 

Julio-Claudian  period,  portrait- 
head  of  boy  of,  Gr.R.,  129. 

Juvenal,  writings  of,  referred  to, 
xxvi. 

K 

Kalathos,  as  attribute  of  Serapis, 
64,  170;  on  pantheistic  head, 
94-95. 

Kantharos,  as  attribute  of  Seil- 
enos,  108-109. 

Kapaneus,  Etr.,  520-450  B.C., 
33;  on  Etr.  gems,  32. 

Kassandra,  Ajax  seizing,  on  p.c. 
gem,  196-197. 

Kastorea,  gem  from,  40-41. 

Kerberos,  beside  Serapis-Hades, 
on  gems,  Gr.R.,  95-96,  later 
R.,  169-170. 

Kerykeion,  as  attribute  of 
Hermes,  21,  72,  104-107,  175— 
176,  of  Venus  Victrix,  1 74— 
175;  on  gems,  ancient,  21,  72, 
81,  104-107,  175-176,  p.c.,  202- 
203;  surrounded  by  wreath, 
Gr.R.,  1 51-152. 

King,  Rev.  C.  W.,  collection  of, 
vi,  14,  21,  24-25,  33,  41,  43- 
44,  47,  54-56,  63-66,  70-73, 
76-85,  93-129,  132-147.  150- 
152,  154,  169-188,  1 90-1 92, 

195-209,  21 1. 

Kronos  (?),  bearded  head  with 
mantle,  Gr.R.,  93. 

Kybele,  representations  of,  in  Hel. 
and  R.  art,  176;  riding  lion, 
later  R.,  176-177;  seated,  with 
lions,  later  R.,  176. 

L 

Lampridius,  Aelius,  writings  of, 
referred  to,  xxiii,  xxvi-xxvii. 

Lapis  Lazuli,  190-191,  201-202; 
description  of,  lx;  use  of,  for 
gems,  ancient,  lx,  Gr.,  V-IV 
cent.  B.C.,  38,  later  R.,  168. 

Lepidus,  Marcus,  gem  type  re¬ 
sembling,  128. 

Lion,  attacking  bull,  Gr.,  VI I  cent. 
B.C.,  14,  p.c.,  208-209;  biting 
deer,  Gr.R.,  137,  Gr.,  V-IV 


INDEX 


225 


cent.  B.  C.,  47,  man  spearing, 
on  p.c.  gem,  208;  relief,  on 
gateway  of  Mycenae,  referred 
to,  9;  walking,  cameo,  Gr.R., 
165,  Gr.R.,  137,  Ionic  Gr.,  V 
cent.  B.C.,  43 :  see  also  Herakles 
and  lion. 

Lioness-sphinx,  seated,  Gr.R., 
123- 

Lions,  grouped  heraldically  with 
sphinxes,  arch.,  19;  on  gems, 
arch.,  18-19,  later  R.,  176; 
struggling,  arch.,  19. 

Livy,  writings  of,  referred  to, 
xxi. 

Lizard,  on  gems,  Gr.R.,  50-51,  on 
gryllos,  145. 

Lotos  Flower,  as  attribute  of 
Isis-Fortuna,  115. 

Lucan,  writings  of,  referred  to, 
xxvii,  128. 

Lucian,  writings  of,  referred  to, 
xxvii. 

Lybia,  head  of,  Gr.R.,  1 14. 

Lyre,  as  attribute  of  Apollo,  46, 
61-62,  98-99,  155,  171,  190, 
201,  of  siren,  124;  Erotes  in 
form  of,  78;  on  arch,  gem,  27- 
28;  woman  playing,  135;  youth 
holding,  198. 

Lysippos,  influence  of,  on  type  of 
bearded  Herakles,  65;  pupil  of, 
referred  to,  177;  tendencies 
introduced  by,  59. 

M 

Macedonia,  gem  from,  39-41. 
44-46. 

Macrobius,  writings  of,  referred 
to,  xxvii-xxviii. 

Maenad  and  Satyrs,  p.c.,  192- 
195;  frenzied,  cameo,  Gr.R., 
158-159,  type  of,  in  Hel.  and 
R.  art,  1 58-1 59. 

Magical  Properties  of  gems, 
xxix. 

Magnifying  Glass,  use  of,  in 
gem  engraving,  lii-liii. 

Malachite,  lx. 

Man,  between  horses,  arch.,  25; 
head  of  bald,  bearded,  Gr.R., 
(2),  127;  measuring  herm, 

Etr.lt.,  72;  portrait-bust  of, 
bearded,  Gr.R.,  130,  and  p.c., 


(2),  204,  (Julius  Caesar?), 
Gr.R.,  128-129,  with  smaller 
head  on  either  side,  cameo, 
Gr.R.,  163-164,  with  toga 
over  head,  cameo,  Gr.R.,  163; 
portrait-head  of,  bearded,  Gr. 
R.,  129,  and  p.c.,  204,  of  late 
Republican  period,  128,  p.c., 
204,  wearing  wreath,  Gr.R.,  130, 
p.c.,  203;  reading  from  scroll. 
It.,  I  cent.  B.C.,  84;  riding 
hippalektryon,  arch.,  20;  seated 
before  altar.  It.,  1  cent.  B.C., 
84-85;  spearing  lion,  p.c.,  208; 
working  on  prow  of  ship,  Etr. 
It.,  71-72;  writing  on  tablet, 
Etr.lt.,  72-73:  and  girl,  por¬ 
trait-busts  of,  p.  c.,  204-205: 
and  woman,  conversing,  arch., 
27;  portrait-busts  of,  III  cent. 

A. D.,  185;  with  part  of  third 
figure  in  chariot,  cameo,  Gr.R., 
164. 

Manilius,  Marcus,  writings  of, 
referred  to,  1. 

Marcus  Curtius,  on  Hel. It. 
gems,  75. 

Mars  Ultor,  Gr.R.,  101;  type  of, 
101. 

Marsyas,  on  Hel. It.  gems,  75. 

Martial,  writings  of,  referred  to, 
xxviii. 

Mask,  comic,  actor  wearing,  on 
Gr.R.  gem,  136,  female,  Hel. 
It.,  80;  female,  later  R.,  1 86— 
187;  of  bearded,  wrinkled  man, 
Hel. It.,  79-80;  of  Pan,  wearing 
wreath,  Gr.R.,  112;  Pan  danc¬ 
ing  before,  on  Gr.R.  gem,  1 1 1  ; 
tragic  female,  Gr.R.,  136-137; 
with  mustache,  Hel.lt.,  80. 

Masks,  combinations  of,  1 43—144; 
on  Hel.  gems,  61. 

Material  Used  for  Gems,  an¬ 
cient,  liv-lxi;  arch.,  18;  Etr., 
32,  52;  Etr.lt.,  69;  Gr.P.,  50; 
Gr.Ph.,  34;  Gr.R.,  88,  91;  Gr. 
V-IV  cent.  B.C.,  38;  Hel., 
61;  Hel. It.,  74;  It.,  I  cent. 

B. C.,  83;  later  R.,  168;  Min.,  6. 

Measuring-stick,  as  attribute  of 

Nemesis,  179-180. 

Medusa,  as  emblem  of  sun-disk, 
126;  dead,  head  of,  Gr.R.,  126, 
p.c.,  (2),  199-200,  type  of, 


226 


INDEX 


126-127;  head  of,  cameo,  Gr. 
R.,  161,  cameo,  Hel.,  66-67, 
p.c.,  (3),  200,  held  by  Perseus, 
on  Gr.R.  gem,  120,  with  hair 
arranged  like  rays,  Gr.R.,  126; 
on  gems,  Gr.Ph.,  34,  Gr.R., 
92,  Hel.,  61 ;  “pathetic”  type  of, 
66-67. 

Melos,  gems  from,  13. 

Melpomene,  Gr.R.,  100. 

Men,  facing  each  other,  Etr.,  IV 
cent.  B.C.,  58:  see  also  Actors, 
Fisherman,  Horsemen,  War¬ 
riors. 

Menelaos,  p.c.  gem  copied  from 
group  by,  206-207. 

Metalwork,  as  source  of  inspir¬ 
ation  for  gem  design,  90. 

Minoan  Period,  gems  of,  5-10. 

Mirror,  on  Gr.R.  gem,  1 56. 

Monogram,  in  field  of  Gr.R.  gem, 
132. 

Monsters,  mythological,  on  gems, 
arch.,  19-21,  24-26,  Etr.,  55- 
58,  Gr.R.,  122-127,  1 6 1 ,  Gr., 
V-IV  cent.  B.C.,  42-43,  47, 
Hel.,  66,  Min.,  10. 

Moonstone,  lx. 

Mouse,  Gr.R.,  140. 

Muses,  in  R.  art,  100;  on  Hel.lt. 
gems,  75. 

Musical  Instruments,  as  at¬ 
tributes  of  sirens,  42:  see  also 
Flute,  Lyre. 

Mutilation  of  the  Enemy,  in 
Gr.  art,  54. 

Mycenaean  Style,  revival  of,  in 
VII  cent.  B.C.,  13. 

Mythological,  monsters,  see 
Monsters,  mythological;  scenes, 
derived  from  Hel.  paintings, 
90;  see  also  names  of  gods  or 
heroes  represented,  i.  e.,  Herakles, 
Jason,  etc. 

N 

Nemean  Lion,  see  Herakles  and 
lion. 

Nemeseis,  facing  each  other,  Gr.R., 
179-180;  on  coins  of  Smyrna, 
180;  statue  of,  at  Smyrna,  as 
source  of  gem  design,  1 1 5- 
116,  180. 

Nemesis,  as  goddess  of  Fate,  1 15- 


1 16;  later  R.,  1 80—18 1 ;  on  later 
R.  gem,  168;  statue  of,  at 
Rhamnus,  115-116;  winged, 
Gr.R.,  1 15,  later  R.,  180. 

Nereid,  head  and  shoulders  of 
swimming,  Hel.,  (3),  63-64; 
riding  Triton,  cameo,  Hel.,  67, 
later  R.,  182. 

Nero,  portrait-head  of,  p.  c., 

203. 

Nerva,  portrait-bust  of,  p.c.,  203- 

204. 

Nicolo,  122-123,  175,  188,  202- 
203;  description  of,  lvii-lviii; 
use  of,  for  gems,  ancient,  lvii- 
lviii,  Etr.lt.,  69,  Gr.R.,  88-89, 
later  R.,  168. 

Nikai,  crowning  warrior,  on  later 
R.  gem,  182. 

Nike,  bust  of,  winged,  cameo,  Gr. 
R.,  159;  crowning  trophy,  as 
coin  and  gem  type,  1 17;  flying, 
statuette  of,  Gr.R.  or  Hel., 
165-166,  origin  of  type  of,  166; 
Gr.,  V  cent.  B.C.,  41-42; 
head  characterized  as,  on  Gr.R. 
gem,  1 19;  in  chariot  drawn  by 
serpents,  Gr.R.,  118;  in  sacri¬ 
ficial  capacity,  as  subject  in  R. 
period,  117-118;  later  R., 
(3),  181-182;  on  gems,  Gr., 
V-IV  cent.  B.  C.,  39,  Hel. It., 
75,  later  R.,  168;  sacrificing, 
bull,  Gr.R.,  117-118,  pig, 
Gr.R.,  118-119;  standing  on 
globe,  on  R.  coins,  118;  statue 
of,  in  Curia  Julia,  see  Victory, 
statue  of,  etc.;  writing  on  shield, 
as  coin  and  gem  type,  117: 
and  Eros,  Gr.R.,  118:  balus¬ 
trade  on  Akropolis  at  Athens, 
mentioned,  118. 

Nymph,  Dionysos  and,  on  Gr.R. 
cameo,  1 58. 

O 

Objects  and  Symbols,  on  Gr.R. 
gems,  147-154. 

Odysseus,  on  Etr.  gems,  32;  lean¬ 
ing  on  staff,  Hel.  It.,  75-76. 

Olympios,  39. 

Omphale,  with  attributes  of  Her¬ 
akles,  p.c.,  198. 

Onyx,  8,  77-78,  162-164;  descrip- 


INDEX 


227 


tion  of,  Ivii;  use  of,  for  gems, 
ancient,  lvii-lviii,  Gr.R.,  91. 

Opheltes,  death  of,  Gr.R.,  121- 
122,  in  ancient  art,  121-122. 

Oracles,  consultation  of,  on 
Etr.lt.  gems,  70,  72^73. 

Orestes,  Elektra  and,  (?),  statue 
of,  as  source  of  p.c.  gem  design, 
206-207. 

Oriental  Influence,  gems  of 
period  of,  13-15. 

Orphic  Rites,  on  Etr.lt.  gems, 
70.  73- 

Othryades,  Etr.lt.,  70-71. 

Ovid,  writings  of,  referred  to, 
xxiii. 

P 

Palmettes,  arch.,  29-30. 

Pan,  dancing  before  mask  and 
tree,  Gr.R.,  1 1 1-1 12;  on  Gr.R. 
gem,  158:  and  Daphnis,  Gr.R., 
1 10— 1 1 1 :  and  goat,  butting, 
Gr.R.,  hi,  subject  in  R.  art, 
1 1 1. 

Pantheistic  Head,  combining  at¬ 
tributes  of  Zeus  Ammon,  Hel¬ 
ios  and  Serapis,  Gr.R.,  (3), 
94-95. 

Panther,  drawing  chariot,  1 57— 
158;  with  Dionysos,  107,  157- 
1  58;  with  Erotes,  103. 

Panticapeum,  Crimea,  gem  said  to 
be  from,  140. 

Paphos,  temple  of,  on  Gr.R. 
rings,  showing  column  half 
fallen,  (2),  148,  showing  sacred 
stone  and  forecourt,  (2),  147- 
148,  two  views  of,  149,  with 
fern  design,  149. 

Paris,  judgment  of,  p.c.,  192. 

Parrot,  carrying  cymbals,  Gr.R., 
141- 

Patera,  on  later  R.  gem,  171. 

Pausanias,  writings  of,  referred 
to,  xxv,  1 16. 

Peacock,  as  attribute  of  Hera, 
83-84. 

Pegasos,  as  device  on  shield  on 
Gr.R.  gem,  134;  Bellerophon 
on,  on  Gr.R.  gem,  12 1;  fore¬ 
part  of,  arch.,  26;  Gr.R.,  124. 

Peleus,  on  Etr.  gems,  32. 

Pergamene  altar,  referred  to, 
■77- 


Peridot,  99,  126;  description  of, 
lix-lx;  use  of,  for  gems,  an¬ 
cient,  lix-lx,  Gr.R.,  88. 

Persephone,  rape  of,  arch.,  28- 
29,  in  Gr.  art,  28-29. 

Perseus,  holding  head  of  Medusa, 
Gr.R.,  120-121;  on  Hel.lt. 
gems,  75. 

Persian  horseman  spearing  boar, 
Gr.P.,  V  cent.  B.C.,  50-51. 

Petasos,  Hermes  wearing,  on  Gr. 
R.  gem,  106. 

Pheidias,  school  of,  as  source  of 
gem  design,  1 13. 

Phrygillos,  39. 

Pichler,  Johann,  gem  said  to 
be  by,  192. 

Pillar,  see  Column. 

Pilos,  Odysseus  wearing,  on  Hel. 
It.  gem,  75-76. 

Plants,  see  Flowers  and  plants. 

Plasma,  25,  101-102,  110-111, 

113-114,  116-117,  134-135. 

138;  description  of,  lvi;  use  of, 
for  gems,  ancient,  lvi,  arch.,  18. 

Plato,  writings  of,  referred  to, 
xxv,  37. 

Plautus,  writings  of,  referred  to, 
xxi. 

Pliny,  the  Elder,  writings  of,  re¬ 
ferred  to,  xxii-xxvii,  xxxi,  xlviii, 
1-liii,  lxi,  89,  92,  1 42-1 43;  the 
Younger,  writings  of,  referred 
to,  xxi. 

Plumb-line,  on  Etr.lt.  gem,  72. 

Plutarch,  writings  of,  referred  to, 
xxiii,  86,  143. 

Polish  on  Gems,  ancient,  li-Iii, 
Etr.,  Hi,  33,  53,  Gr.,  V-IV 
cent.  B.  C.,  39. 

Poni atowski  Collection,  xxxiii; 
gem  said  to  be  from,  196,  200- 
201,  207. 

Porphyry,  lxi. 

PoRTRAiT-fcws/,  (Julius  Caesar?), 
Gr.R.,  128-129,  P'c->  202;  of 
man,  bearded,  Gr.R.,  130, 
p.  c.,  204,  with  cuirass  and 
wreath,  (Caligula?),  cameo, 
Gr.R.,  162-163,  with  smaller 
head  on  either  side,  cameo,  Gr. 
R.,  163-164,  with  toga  over 
head,  cameo,  Gr.R.,  163;  of 
Nerva,  p.c.,  203-204;  of  wo¬ 
man,  Gr.R.,  1 3 1  —1 32,  R.,  Ill 


228 


INDEX 


cent.  A.  D.,  (2),  184-185, 

p.c.,  205,  characterized  as 

Artemis,  p.c.  205,  her  hair  tied 
by  fillet,  Gr.R.,  130,  p.c., 

205,  R.,  II  cent.  A.  D.,  184, 
statuette,  R.,  1 1  cent.  A.  D., 
188,  with  veil,  diadem  and 
necklace,  Gr.R.,  132:  -busts, 
of  man  and  girl,  p.c.,  204-205; 
of  man  and  woman.  III  cent. 
A.  D.,  185:  -bead,  of  Alex¬ 
ander  the  Great,  p.c.,  201-202; 
of  boy,  of  Julio-CIaudian  pe¬ 
riod,  129;  of  child,  Gr.R.,  132- 
133;  of  Claudius,  p.c.,  203; 
of  girl,  Gr.R.,  132;  of  man, 
bearded,  Gr.R.,  129  and  p.c., 
204,  of  late  Republican  pe¬ 
riod,  128,  p.c.,  204,  with  hel¬ 
met,  p.c.,  202,  with  tortoise 
and  kerykeion  in  field,  p.c., 
202-203,  with  wreath,  Gr.R., 
130,  and  p.c.,  203;  of  Marcus 
Junius  Brutus,  Gr.R.,  127-128; 
of  Nero,  p.c.,  203;  of  woman, 
Gr.R.,  131,  with  net  and  ker¬ 
chief,  Gr.R.,  132. 

Portraits,  Julio-Claudian,  on 
Gr.R.  gems,  91;  on  gems,  Gr. 
R.,  90,  1 27— 1 33,  161-164, 

Hel.lt.  75,  later  R.,  168,  184- 
186,  188,  p.c.,  201-205;  popu¬ 
larity  of,  in  Hel.  period, 
61. 

Poseidon,  Gr.R.,  96. 

Post-classical  Periods,  gems  of, 
1 89-2 1 1 . 

Praxiteles,  tendencies  intro¬ 
duced  by,  59. 

Priapos,  herm  of,  Gr.R.,  1 12. 

Priest  before  Altar,  Gr.R., 
1  34- 

Probus,  Aemilius,  writings  of, 
referred  to,  xxi. 

Prometheus,  on  Etr.lt.  gems, 
70. 

Psyche,  kneeling  and  opening 
casket,  p.c.,  197-198;  on  Hel. 
gems,  61 :  and  Eros,  embracing, 
cameo,  Gr.R.,  157. 

Pyrope  Garnet,  see  Garnet,  py- 
rope. 

Pythagorean  Doctrines,  influ¬ 
ence  of,  on  gem  subjects, 
72. 


Q 

Quartz,  Iviii-lx,  18. 

Quintilian,  writings  of,  referred 
to,  xxviii. 

Quintus  Curtius,  writings  of,  re¬ 
ferred  to,  xxi. 

Quiver,  on  Gr.R.  gem,  99,  on 
p.c.  gem,  205. 

R 

Ram,  as  attribute  of  Hermes,  105, 

1 75— 1 76;  head  of,  Gr.R.,  1 38— 
139,  on  Gr.R.  gem,  105;  horns 
of,  head  with,  206,  helmet  with, 
78-79,  mask  with,  1 44—145, 
pantheistic  head  with,  95, 
Zeus  Ammon  with,  94;  on 
gems,  arch.,  18,  Etr.lt.,  73; 
parts  of,  on  grylloi,  79,  144- 
147;  running,  Hel.  It.,  81; 
walking,  Min.,  10. 

Rega,  gem  by,  191. 

Reins,  as  attribute  of  Nemesis, 
1 16. 

Renaissance  Gems,  xxxii,  189. 

Rhamnus,  statue  of  Nemesis  at, 
1 1 5-1 16. 

Ring,  bronze,  104,  175,  181-182, 
187;  chalcedony,  206;  cut 
from  gems,  in  Gr.R.  period, 
169;  gilt-bronze,  61-63,  77, 
134;  glass,  163;  gold,  19-20, 
23,  26-27,  29-30.  39-47.  55-56. 
66,  79,  94,  99,  102,  107,  125, 
140-142,  147-149.  151-154. 

165,  1 7 1— 1 73,  178-180,  183, 

1 86—188,  190,  202,  21 1,  enam¬ 
eled,  161-162,  filled  with  sul¬ 
phur,  178-179,  hollow,  13 1, 
and  use  of,  in  Hel.  period,  60, 
inscribed,  1 52-1 54,  use  of, 
Gr.,  V-IV  cent.  B.  C.,  38,  in 
Min.  period,  7,  in  Roman  pe¬ 
riod,  xxvii-xxviii;  metal,  89; 
silver,  19-21,  28,  43-44,  186; 
swivel,  17,  19-22,  26-28,  38, 
43-44;  fashion  in  wearing, 
in  ancient  times,  xxvii-xxviii, 
37,  60,  168. 

River-god,  bust  of,  with  cornu¬ 
copia  and  reed,  Gr.R.,  115; 
on  later  R.  gem,  169. 

Rock  Crystal,  see  Crystal,  rock. 


INDEX 


Roma,  characteristics  of,  174;  on 
Hel.lt.  gem,  85;  seated,  Gr.R., 
'74.  type  of,  174. 

Roman,  art,  adoption  of  Etr. 
and  Hellenic  styles  in,  68;  gems, 
later,  167-188:  see  also  Italic, 
Etruscanizing  Italic,  Graeco- 
Roman,  and  Hellenizing  Italic. 

Rome,  subjugation  of  Italy  by, 

68. 

Romulus  and  Remus,  on  Hel.lt. 
gems,  85-86. 

Round  Drill,  use  of,  on  Etr. 
scarabs,  52—53,  57-58. 

Rudder,  as  attribute  of  Fortuna, 

178- 179,  of  Isis-Fortuna,  115; 
on  gems,  Gr.R.,  134,  p.c.,  201. 

Rule,  as  attribute  of  Nemesis, 
1 16. 

S 

Sacrificial  Scenes,  on  gems,  70, 
117-119,  !34. 

Sagittarius,  see  Constellations, 
Sagittarius. 

Sapphire,  description  of,  lx;  use 
of,  for  gems,  ancient,  lx,  Gr.R., 
88. 

Sard,  64-66,  78-79,  81,  83-84, 
94,  96-98,  1 03-1 04,  106,  108- 
no,  120-121,  127,  1 3 1 —i  32, 

1 3  5—140,  142-144.  '47.  '49— 
152,  1 71,  1 73-' 74.  176-177. 

179- 184,  195,  197,  200-201, 
204-206;  description  of,  lv- 
Ivi;  use  of,  for  gems,  ancient, 
lv-Ivi,  Etr.lt.,  69,  Gr.R., 
88,  91,  Hel.,  60,  Hel.lt.,  74, 
It.,  I  cent.  B.C.,  83. 

Sardonyx,  67,  101,  115-116,  127, 
133,  140,  146,  157-160,  169, 
172-173,  181-183,  209-211; 

description  of,  lvii-lviii;  use  of, 
for  gems,  ancient,  lvii-lviii, 
Gr.R.,  88,  91,  Hel.,  60-61, 
It.,  1  cent.  B.C.,  83;  vases 
cut  in,  92. 

Satyr,  bust  of  youthful,  Gr.R., 

1 10;  kneeling  and  pouring  from 
vase,  later  R.,  183;  playing 
with  goat,  Etr.,  1V-II1  cent. 
B.C.,  5  5-56;  pouring  from  wine¬ 
skin  into  vase,  Gr.R.,  1 10. 

Satyrs,  on  gems,  Hel.,  61,  Hel.lt., 


229 

75;  two,  kneeling  before  krater, 
Gr.R.,  1 10. 

Scales,  on  Gr.R.  gem,  135. 

Scarab,  15,  22,  26,  33,  53-58; 
disappearance  of,  37,  importa¬ 
tion  of,  from  Egypt,  13;  intro¬ 
duction  of,  from  Egypt,  11; 
significance  of,  in  Greece,  16- 
17;  use  of,  for  gems,  arch., 
16-17,  Etr.,  32.  52,  Etr. It., 
69,  geometric,  11,  Gr.Ph.,  34, 
Gr.,  VII  cent.  B.C.,  13-14. 

Scaraboid,  14,  23-29,  40-44;  in¬ 
troduction  of,  1 1 ;  use  of,  for 
gems,  arch.,  17,  geometric, 
1 1,  Gr.P.,  50. 

Scipio  Africanus,  p.c.  gem  de¬ 
sign  resembling  type  of,  202. 

Scopas,  see  Skopas. 

Scorpion,  later  R.,  187;  on  later 
R.  gems,  187;  part  of,  on  gryl- 
Ios,  147. 

Sculptor,  working  on  bust,  It., 
1  cent.  B.C.,  84. 

Sculpture,  influence  of,  on  gems, 
29,  40,  90,  99,  101,  104-105, 
107,  iio-iii,  113,  1 16-118, 
121,  169,  172,  177-181,  193— 
194,  206. 

Scylla,  see  Skylla. 

Seals,  gems  as,  xix-xxi,  17,  36-37, 
69. 

Seasons,  one  of,  on  Gr.R.  gem, 
1 19;  relief  of,  in  British  Mu¬ 
seum,  referred  to,  1 19. 

Seilenoi  and  Satyrs,  on  Gr.R. 
gems,  108. 

Seilenos,  mask,  bearded,  cameo, 
p.  c.,  2 1 1 ;  on  gems,  arch., 
18,  Etr.,  450-300  B.C.,  53, 
Gr.Ph.,  34,  Hel.lt.,  75;  playing 
double  flutes,  Gr.R.,  108;  with 
staff  and  kantharos,  Gr.R., 
108-109. 

Seneca,  writings  of,  referred  to, 
xx. 

Serapis,  attributes  of,  combined 
with  others  in  pantheistic 
heads,  94—9 5 ;  bust  of,  Hel., 
64-65,  with  eagle,  later  R., 
170;  identification  of,  with 
Zeus  and  Hades,  64-65;  in 
Roman  art,  170;  introduction 
of  worship  of,  64-65,  on  Hel. 
gems,  61;  partly  draped,  later 


230 


INDEX 


R.,  170:  -Hades,  derivation  of, 
95:  with  Isis  and  Kerberos, 
later  R.,  169-170:  with  Ker¬ 
beros,  Gr.R.,  (2),  95-96. 

Serpent,  as  attribute  of  I sis- 
Fortuna,  115;  coiled  around 
child,  (Opheltes?),  Gr.R., 
121-122;  on  altar  (?),  Gr.R., 
142;  on  gems,  arch.,  27,  Etr., 
55,  Etr.lt.,  73,  Gr.R.,  135, 
Hel.lt.,  80;  on  gryllos,  145; 
wound  around  staff  as  attrib¬ 
ute  of  Asklepios,  1 12-1 13,  of 
Serapis,  95. 

Serpentine,  lxi. 

Settings,  arch.,  17;  bronze,  76; 
gold,  14,  20-22,  25-27,  29, 

41- 42,  44,  55-56,  102,  1 59— 
160;  silver,  19,  28-29,  >86. 

Shepherd,  milking  goat,  later  R., 
186. 

Shield,  on  gems,  Etr.,  54,  57- 
58,  Gr.R.,  134,  145,  Hel.lt., 
85,  later  R.,  171-174,  p.c., 

198,  204,  207. 

Ship,  prow  of,  on  gems,  Etr. It., 
71-72,  Gr.R.,  96. 

Sideritis,  magical  properties  of, 
xxix. 

Signatures,  of  gem  engravers, 
xxxv-xlv,  38,  92,  130,  191; 

of  owners,  43,  72,  112,  132- 
133.  135.  '54-  169,  176,  179- 

180. 

Silver,  ringstone,  185;  see  also 
Rings,  silver,  and  Settings, 

silver. 

Siren,  derivation  of,  42;  in  Gr. 
art,  124;  on  arch,  gems,  18; 
playing  lyre,  Gr.R.,  124. 

Sirens,  flying,  Gr.,  V  cent.  B.C., 

42- 43. 

Sirius,  head  of,  Gr.R.,  139. 

Sistrum,  as  attribute  of  Isis- 
Fortuna,  115,  of  Nemesis, 
179-180. 

Skopas,  tendencies  introduced  by, 
59;  type  of  Apollo  originated 
by,  (?),  x 55- 

Skylla  (?),  Etr.,  V— 1 1 1  cent.  B.C., 
58. 

Smyrna,  Nemesis  on  coins  of,  180. 

Snake,  see  Serpent. 

Sokrates,  on  Gr.R.  gems,  90; 
type  of,  127. 


Sovana  in  the  Maremma,  ring 
from,  66. 

Spartianus,  Aelius,  writings  of, 
referred  to,  xxiii. 

Spear,  on  gems,  Etr.,  57,  Etr.lt., 
71,  Gr.R.,  95,  ioo-ioi,  133, 
145,  Hel.lt.,  76,  85,  later  R., 
172-174,  Min.,  9,  p.c.,  190^ 

1 91,  207-208. 

Sphinx,  attacking  youth,  Gr.R., 
122-123;  crouching,  Etr.,  V- 
IV  cent.  B.C.,  55;  lioness-, 
seated,  Gr.R.,  123;  lying  down, 
p.c.,  201;  on  arch,  gems,  18; 
on  coins,  123;  seated,  arch., 
19-20,  Gr.R.,  123;  Theban 
legend  of,  123;  type  of,  122- 
123. 

Spiral  Ornament,  22,  26-27. 

Staff  with  serpent  wound  around 
it,  as  attribute  of  Asklepios, 
1 12-1 13,  of  Serapis,  95. 

Stag,  on  later  R.  gem,  182;  rising, 
Ionic,  V  cent.  B.C.,  43-44. 

Star,  on  Gr.R.  gem,  124,  143: 
and  crescent,  on  gems,  Etr.lt., 
72-73,  Gr.R.,  145-146,  Hel.lt., 
80,  later  R.,  170. 

Stars,  on  gems,  arch.,  24-25, 
Gr.R.,  176-177. 

Statuette,  flying  Nike,  Gr.R., 
165-166;  portrait-bust  of  >vo- 
man,  later  R.,  188. 

Steatite,  description  of,  lxi;  use 
of,  for  gems,  ancient,  lxi,  Gr. 
P.,  50:  white,  26. 

Subjects  Represented  on  Gems, 
ancient,  xvii-xix,  xxi-xxiv, 
arch.,  18,  Etr.,  32,  52-53,  Etr. 
It.,  69-70,  Gr.P.,  49-50,  Gr.Ph., 
34-35,  Gr.R.,  89-92,  Gr.,  V- 
IV  cent.  B.C.,  39,  Hel.,  61, 
Flel.lt.,  74-75,  It.,  1  cent. 
B.C.,  83,  later  R.,  168,  Min.,  6. 

Suetonius,  writings  of,  referred 
to,  xxi-xxii,  xxvi,  xxxi. 

Sword,  on  gems,  Etr.,  33,  58, 
Etr. 1 1.,  71,  Gr.R.,  102,  122,  125, 
133,  Hel. It.,  75,  p.  c.,  198. 

Symbol,  value  of,  on  stones,  in 
later  R.  period,  168. 

Symbolism,  in  representations  on 
ancient  gems  and  coins,  xviii- 
xix. 

Symbols,  see  Objects  and  Symbols. 


INDEX 


Syriam  Garnet,  see  Garnet,  py- 
rope. 

Syrinx,  as  attribute  of  Pan,  1 10- 
1 1 1 ;  on  Gr.R.  gem,  158;  on 
later  R.  gem,  187. 

T 

Table,  on  Gr.R.  gem,  134. 

Telephos,  Herakles  with,  on  Gr. 
R.,  gem,  1 19-120. 

Temple  of  Paphos,  see  Paphos, 
temple  of. 

Theban  Legends,  of  sphinx,  123; 
on  Etr.  gems,  32. 

Theophrastus,  writings  of,  re¬ 
ferred  to,  xlviii. 

Thunderbolt,  on  Etr.  gem,  33. 

Thyrsos,  as  attribute  of  Dionysos, 
46,  107,  of  satyr,  193;  in  field 
of  Gr.  R.  gem,  143. 

Tigran es,  coins  of,  referred  to, 
'77- 

Tongue  Pattern,  20,  33,  33. 

Topaz,  104-105;  description  of, 
lix;  use  of,  for  gems,  ancient, 
lix,  Gr.R.,  88,  Hel ,  60. 

Torch,  as  attribute  of  Persephone, 
28-29;  on  gems,  Gr.R.,  107,  144, 
p.c.,  200:  inverted,  as  attribute 
of  Eros,  1 56;  on  Gr.R.  gem,  136. 

Tortoise,  on  Gr.R.  gem,  106- 
107,  and  on  p.c.  gem,  202. 

Tower  with  Soldiers,  Hel.lt.,  76. 

Tree,  on  gems,  Gr.R.,  104-105, 
in,  120,  134,  164,  Gr.,  V- 
IV  cent.  B.C.,  44,  VII  cent. 
B.C.,  15,  Hel. It.,  82,  85-86, 
p.c.,  197,  201. 

Trident,  as  attribute  of  Eros, 
103,  of  Poseidon,  96;  on  gems, 
Gr.R.,  125,  143,  p.c.,  197, 

209 :  and  dolphin,  G  r.  R.,  1 42 :  a  nd 
hippocamp,  on  Gr.R.  gem,  125. 

Tripod,  on  Gr.R.  gem,  176. 

Triskeles,  Hel. It.,  82;  on  coins  of 
Sicily,  82. 

T riton,  male  and  female,  p.c.,  20 1 ; 
Nereid  riding  on,  cameo,  Hel., 
67;  on  Gr.Ph.  gems,  34. 

Tro'ilos,  Achilles  seizing,  cameo, 
Gr.R.,  1 60—16 1 . 

Trojan  Legends,  on  Etr. It.  gems, 
69. 

Tropaion,  on  Gr.R.  gems,  133. 


231 

Tryphon,  description  of  gem  by, 
63-64. 

Tunic,  on  figure  on  Hel.lt.  gem, 
75-76. 

Turquoise,  description  of,  lx; 
superimposed  on  blue  glass, 
161-162;  use  of,  for  gems,  an¬ 
cient,  lx,  Gr.R.,  91. 

Tyche  of  a  City,  personification 
of,  on  Gr.R.  gem,  113-114: 
see  also  Fortuna. 

Tydeus,  on  Etr.  gems,  32. 

U 

Ulysses,  see  Odysseus. 

Use  of  Gems,  period  of,  xvi-xvil. 

Utensils,  on  gems,  Hel.,  61,  Hel. 


Valerius  Maximus,  writings  of, 
referred  to,  xxiii. 

Vase,  on  gems,  Etr. 1 1.,  71,  Gr.R., 
104,  110,  1 5 1,  Hel. It.,  77-78, 
82-83;  with  branches,  Gr.R., 
'51- 

Vases  cut  in  sardonyx,  (,2,  on  Hel. 
gems,  61. 

Venus,  Esquiline,  compared  with 
gem  type,  40;  Victrix,  Gr.R., 
101-102:  with  Eros,  later  R., 
174-175- 

Victory,  statue  of,  in  the  Curia 
Julia,  referred  to,  166,  181. 

Villa  Albani,  terracotta  relief  in, 
as  origin  of  p.c.  gem  design, 
i93-'94- 

Virgil,  writings  of,  referred  to, 
xxvi-xxvii. 

W 

Warrior,  between  two  Nikai, 
later  R.,  182;  consulting  or¬ 
acle,  Etr.  It.,  (2),  73;  Etr., 
IV  cent.  B.C.,  57;  Gr.R.,  133; 
horse  falling  with,  p.c.,  207; 
kneeling,  Etr.lt.,  71,  Gr.R., 
134;  on  later  R.  gem,  177; 
placing  garland  around  col¬ 
umn,  Etr.  1 1.,  71;  standing 

beside  horse,  p.c.,  207;  un¬ 
fastening  chlamys,  Gr.R.,  133; 
wounded,  supported  by  com¬ 
panion,  Gr.R.,  164. 


INDEX 


232 

Warriors,  arming,  on  Etr.it. 
gems,  70;  in  combat  with  horse¬ 
men,  on  He!.  It.  gem,  76; 
wounded,  on  Etr.lt.  gems,  70. 

Weapons,  of  Aphrodite,  joi-102; 
of  Athena,  100;  of  Eros,  102; 
of  Herakles,  77,  Eros  with, 
157;  on  gems,  ancient,  9,  33, 
54,  57-58,  71,  75-76,  81,  95, 
100-102,  122-125,  1 33— 1 34, 

145,  171-174,  P-c.,  1 90-191, 
198,  204,  207-208. 

Wheat  Ears,  as  attribute,  of  Isis, 
170,  of  Kybele,  176,  of  Zeus, 
169;  on  gems,  Gr.R.,  96-98, 
146-147,  149-150,  later  R., 

170,  176,  185. 

Wheel,  as  attribute  of  Nemesis, 

1 16. 

Wine-skin,  as  attribute  of  satyr, 
1 10. 

Winged,  head,  of  Hermes,  106, 
of  Hypnos,  84,  of  Medusa, 
66-67,  199-200,  of  Nike,  119; 
feet,  on  gems,  Gr.R.,  150,  p.c., 
192;  figures,  on  gems,  arch., 
19-21,  26-28,  Etr.,  54-57, 
Gr.R.,  102-104,  115-116,  1 2 1  — 
125,  156-157,  159,  later  R., 
174-175,  180-181. 

Winter  (?),  on  Gr.R.  gem,  1 19. 

Wolf,  Roman  she-  with  Rom¬ 
ulus  and  Remus,  on  It.  coins 
and  gems,  85;  with  Romulus, 
Remus  and  Faustulus,  It., 

I  cent.  B.C.,  (2),  85-86;  with 
Romulus,  Remus,  Faustulus 
and  Roma,  It.,  I  cent.  B.C.,  85. 

Woman,  carrying  booty  from  the 
chase,  Gr.R.,  119;  crouching, 
Gr.,  IV  cent.  B.C.,  46;  head  of, 
before  pillar,  p.c.,  206,  in  the 
round,  p.c.,  211,  with  mural 
crown  and  veil,  Gr.R.,  1 13— 
114,  with  ram’s  horns,  p.c., 
206;  portrait-bust  of,  charac¬ 
terized  as  Artemis,  p.c.,  205, 
hair  tied  by  fillet,  Gr.R.,  130, 
later  R.,  185,  p.c.,  (2),  205,  R., 

II  cent.  A.D.,  184,  R.,  Ill 
cent.  A.D.,  184-185,  with  veil, 
diadem  and  necklace,  Gr.R., 
132;  portrait-head  of,  Gr.R., 
(2),  131-132,  Gr.R.,  164,  with 
net  and  kerchief,  Gr.R.  132; 


scattering  incense,  Gr.,  IV  cent. 
B.C.,  45-46;  seated,  tuning 

lyre,  Gr.R.,  135:  and  man, 

portrait-busts  of,  R.,  Ill  cent. 
A.D.,  185:  and  youth,  p.c., 

206-207. 

Women,  youth  and,  p.c.,  198; 

youths  and,  cameo,  Gr.R.,  1 64— 

165. 

Wreath,  as  attribute,  of  Eros,  77, 
of  Nike,  41,  118-119,  '8'.  of 
Serapis,  170,  of  siren,  42-43; 
on  gems,  Gr.P.,  51,  Gr.R., 
146,  151—1 52,  later  R.,  170, 
182,  185;  worn,  by  Augustus, 
162,  by  Herakles,  65,  by  man, 
130,  162,  203,  by  mask  of 
Pan,  1 12,  by  Nero,  203,  by 
Nerva,  203-204:  and  fern  de¬ 
sign,  Gr.R.,  1 51. 

Wrestlers,  cameo,  Gr.R.,  161. 

Y 

Yorkshire,  gem  said  to  be  from, 
186. 

Youth,  before  three  fates,  (?), 
on  p.c.  gem,  198;  bust  of,  p.c., 
205-206,  wearing  Phrygian 
cap,  later  R.,  184;  crouching, 
arch.,  23-24;  head  and  should¬ 
ers  of,  with  rudder  and  shield, 
Gr.R.,  134;  holding  disk  and 
palm  branch,  Gr.R.,  134;  lean¬ 
ing  against  pillar,  Gr.R.,  (2), 
135;  leaning  on  staff  and 
playing  with  dog,  arch.,  25; 
leaning  on  staff,  arch.,  26; 
seated  and  stooping  over  vase, 
p.c.,  207-208;  seizing  crouching 
girl,  arch.,  22;  washing  his  hair, 
arch.,  22;  and  women,  p.c.,  198. 

Youths  and  Women,  cameo, 
Gr.R.,  164-165. 

Z 

Zeus,  eagle  of,  on  Gr.R.  gem,  12 1; 
identification  of  Serapis  with, 
65;  standing  on  globe,  later  R., 
169;  Ammon,  derivation  of,  94; 
head  of,  Gr.R.,  (2),  94,  154- 
155 \and  Fortuna,  later  R.,  169. 

Zigzag  pattern  in  exergue  of 
Gr.R.  gem,  1  io,  1 18-1 19. 


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